054 


UC-NRLF 


191(3 


HEARTSEASE 


BY 


CHARLES  KLEIN  Q  J.  I.  C.  CLARK 


SAMUEL  FRENCH,  28-30  West  38th  St.,  New  York 


HEARTSEASE 


n 


By 

CHARLES  KLEIN  &  J.  I.  C.  CLARK 

Revised,  1916,  by  ).  1.  C  dark 


Copyright,  1916,  By  SAMUEL  FRENCH 


ALL  RIGHTS  RESERVED. 

CAUTION. — All  persona  are  hereby  warned  that  "  HEARTS 
EASE,"  being  fully  protected  under  the  copyright 
laws  of  the  United  States,  is  subject  to  royalty,  and 
anyone  presenting  the  play  without  the  consent  of  the 
owners  or  their  authorized  agents  will  be  liable  to  the 
penalties  by  law  provided.  Application  for  amateur 
acting  rights  must  be  made  to  SAMUEL  FRENCH,  28-30 
West  38th  Street,  New  York.  Application  for  the 
professional  acting  rights  must  be  made  to  the  AMERI 
CAN  PLAY  COMPANY,  33  West  42nd  Street,  New  York. 


NEW  YORK 

SAMUEL  FRENCH 

PUBLISHER 

28-30  WEST  38TH  STREET 


LONDON 

SAMUEL  FRENCH,  Ltd. 

26  SOUTHAMPTON   STREET 

STRAND 


Especial  notice  should  be  tali  on  that  the  possession  of  this 
book  without  a  valid  contract  for  production  first  having 
been  obtained  from  the  publisher,  confers  no  right  or  license 
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in  private  for  gain  or  charity. 

In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performance  of  it  may  be  given  except 
by  special  arrangement  with  Samuel  French,  28-30  West  38th 
Street,  New  York* 

SECTION  28— That  any  person  who  wilfully  or  for  profit 
shall  infringe  any  copyright  secured  by  this  act,  or  who  shall 
knowingly  and  wilfully  aid  or  abet  such  infringement  shall 
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thereof  shall  be  punished  by  imprisonment  for  not  exceeding 
oae  year,  or  by  a  fine  of  not  less  than  one  hundred  nor  more 
tliun  one  thousand  dollars,  or  both  in  the  discretion  ot  the 
court. 

Act  of  March  4,  1909. 


'14- 


.- 


HEARTSEASE 


CAST  OF  CHARACTERS. 


LORD  NEVILLE 

MAJOR  TWOMBLY 

PADBURY 

SIR  GEOFFREY 

CAPTAIN  O'HARA 

DARVILLE 

DOXTON 

CHAIRMAN 

QUIGG 

LADY  NEVILLE 

MARGARET 

ALICE  TEMPLE 

ERIC  TEMPLE 

LADY  O'HA*A 


330 


HEARTSEASE 


ACT  I. 

SCENE: — Drawing-room  at  LORD  NEVILLE'S.  A 
sumptuously  furnished  apartment,  style  Louis 
XVI.  Entrance  c.  at  back.  Entrance  with 
portiere,  R.  I  E.  Entrance  L.  3  E.,  to  conserva 
tory.  A  small  console  L.  c.,  and  chair  near  it. 
Table  R.  c.  with  gong.  Desk  up  R.  with  paper, 
quill-pen,  and  ink.  Sofas,  arm-chair,  and  other 
chairs.  A  cabinet  stands  L. 

DISCOVERED :— LADY  NEVILLE  R.  c.  SIR  GEOF 
FREY  at  mantel.  MAJOR  at  table  with  two  guests 
playing  chess;  MARGARET  and  LADY  O'HARA 
seated  on  sofa  to  L.  CAPT.  Q'HARA  leaning 
over  back  of  sofa. 

MAJOR.    I  protect  my  king. 

GUEST.     (SiR  GEOFFREY)     Bravo,  Major! 

LADY  NEVILLE.  (Rings  bell  Enter  DOXTON  c.) 
Doxton,  announce  Mr.  Temple  the  moment  he 
arrives.  (Crosses  to  c.) 

SIR  GEOFFREY.  (Coming  down  L.  c.  taking  snuff) 
Egad,  'tis  come  to  a  pretty  pass ;  and  how  long  must 
we  wait  upon  this  jingle  maker? 

LADY  NEVILLE.  Patience,  cousin  Geoffrey,  what 
ever  detains  Mr.  Temple,  I'll  wager  'tis  unavoidable. 

CAPT.  O'HARA.  (L.)  That's  true  for  you,  Lady 
Neville. 

SIR  GEOFFREY.  (Leaning  lazily  against  harpsi 
chord)  Your  Ladyship  seems  deeply  interested  in 
this  Mr.  Temple? 


4  HEARTSEASE. 

LADY  NEVILLE.  (Affectedly)  Oh,  no,  I  love — 
music.  (Everybody  laughs) 

SIR  GEOFFREY.  (L.  c.  Aside  to  LADY  NEVILLE) 
Your  motive  may  be  misconstrued.  You  discover 
this  fellow,  you  make  yourself  known  as  his 
patroness.  You  give  this  musicale  to  exploit  his 
genius,  invite  the  impresario,  Darville,  draw  Lord 
Neville  blindfolded  into  your  scheme.  'Gad,  we're 
all  made  parties  to  your  Ladyship's  intrigues ! 

LADY  NEVILLE.    (Indignantly)    Sir  Geoffrey! 

MAJOR.    Mr.  Temple  has  been  delayed,  no  doubt. 

SIR  GEOFFREY.  For  my  part,  this  delay  is  a 
pleasant  one.  We  shall  hear  the  less  of  the  fellow's 
music. 

MARGARET.  Ah,  Sir  Geoffrey,  like  all  musicians, 
you  are  professionally  jealous. 

SIR  GEOFFREY.  Scarcely  that,  since  in  music  I 
am  but  an  amateur. 

CAPT.  O'HARA.  (Coming  down  R.)  Egad,  his 
music  tells  that  louder  than  words.  (General  laugh) 

SIR  GEOFFREY.    Ah,  Temple's  friend. 

CAPT.  O'HARA.    I  am,  and  whose  friend  are  you  ? 

MAJOR.    Mine.     (Rising) 

LADY  NEVILLE.  So,  so,  my  good  Captain,  you  ap 
prove  of  Mr.  Temple's  music. 

CAPT.  O'HARA.  (Coming  c.)  Many  a  time  on 
the  weary  march,  we  have  been  made  the  happier 
for  it. 

LADY  O'HARA.    A  soldier,  too. 

CAPT.  O'HARA.    And  a  gallant  one  he  was. 

LADY  O'HARA.    Why  did  he  leave  the  army  ? 

CAPT.  O'HARA.  His  father  died,  leaving  an 
orphan  daughter,  small  means  and  big  debts. 
There's  a  campaign  at  home,  said  he  to  me,  that  I 
must  go  back  and  fight,  and  so  he  left  the  boys  who 
loved  him,  to  enter  on  the  hardest  battle  he  ever 
faced. 

X,ADY  NEVILLE.  Ah!  How  brave!  But  he  will 
be  the  success,  the  triumph  of  my  musicale.  I  vow. 


HEARTSEASE.  5 

Sir  Geoffrey,  you  will  declare  his  music  ravishing, 
such  brio,  such  allure,  such  regelmdssigkeit. 

SIR  GEOFFREY.  (Coming  down)  Zounds!  Does 
it  take  three  languages  to  praise  the  fellow's  semi 
quavers  ? — The  plain  English  of  it  is,  it  would  give 
a  cat  the  vapors 

(Laugh  -from  MAJOR.) 

LADY  NEVILLE.  Come.  Margaret  shall  put  you 
in  a  better  humor  with  Mr.  Temple's  music;  she 
thinks  highly  of  it.  We  will  wait  no  longer. 
(SERVANT  enters,  D.  R.  To  SERVANT)  I  shall  order 
the  musicians  to  begin.  (All  rise) 

(Enter  DOXTON,  c.) 

DOXTON.  Mr.  Padbury,  a  city  gent,  desires  to  see 
Mr.  Temple  on  pressing  business. 

(Enter  PADBURY  c.    General  titter.) 

LADY  NEVILLE.  Mr.  Temple  has  not  arrived. 
Kindly  await  him  here!  (LADY  NEVILLE  exits  R. 
LADY  O'HARA  and  MARGARET  cross  and  exit  R.  i. 
SIR  GEOFFREY  and  MAJOR  cross  up  to  PADBURY) 

SIR  GEOFFREY.  Mr.  Temple's  friends  are  more 
original  than  his  music — (SiR  GEOFFREY  and  MAJOR 
exit  R.  i.  E.) 

(Music  off  R.) 

PADBURY.  Ah,  Captain  O'Hara !  (Coming  down 
c.) 

CAPT.  O'HARA.  Padbury,  what  is  this  pressing 
business  that  brings  you  here? 

PADBURY.  Well,  I  might  have  pressing  business, 
if  I  pressed  my  notes. 


6  HEARTSEASE. 

CAPT.  O'HARA.  So  you  come  here  like  a  dirty 
dun. 

PADBURY.  Why  can't  he  introduce  me  among  his 
friends?  (PADBURY  produces  letter)  My  dear 
Padbury:  Though  ever  mindful  of  your  goodness 
to  me  in  many  ways,  I  cannot  invite  you  where  I  am 
but  a  guest.  I  ain't  pressing  him  for  the  money,  but 
only  to  introduce  me  to  his  friends.  Why  don't  he 
ask  them  to  invite  me?  Ain't  I  good  enough?  I 
may  be  Lord  Mayor  of  London  yet.  I  have  been 
Alderman  twice.  I  am  rich.  I  want  to  be  among 
fashionable  folks,  so  that  when  the  King  comes  to 
knighting  of  me  I  shan't  be  afraid  to  say  "  How  do 
you  do  "  to  dukes.  {Sits  in  chair  R.) 

(CAPT.  O'HARA  is  behind  him,  drawing  his  sword.) 

CAPT.  O'HARA.  By  my  soul,  I  shall  be  after 
knighting  you  myself!  {Clapping  him  on  the 
shoulder  with  sword)  Rise,  Sir  Peter  Padbury,  and 
depart. 

PADBURY.  Ain't  I  to  stay,  after  all  the  trouble 
I  took  to  get  in  ? 

CAPT.  O'HARA.  Faith,  you  will  find  it  much  easier 
to  get  out.  {Drawing  PADBURY  over  to  the  left) 

(LADY  NEVILLE  enters  R.,  unobserved.) 

PADBURY.  Ain't  he  beholden  to  me  for  his  father's 
debts?  And  he  won't  even  introduce  me  to  his 
friends ! 

LADY  NEVILLE.  (Aside)  In  debt  to  him! 
(Aloud)  Captain  O'Hara,  what  does  this  man 
desire  ? 

CAPT.  O'HARA.  I  know  what  he  deserves,  my 
lady. 

LADY  NEVILLE.  (Laughs)  Will  you  excuse  me. 
Captain,  I  wish  a  few  words  with  Mr.  Padbury. 

CAPT.  O'HARA.    {Crossing  R.  around  table)    Be- 


HEARTSEASE.  7 

lieve  me,  my  lady,  my  friend  is  not  to  blame  for  this 
intrusion. 

LADY  NEVILLE.  Go!  Go!  (Exit  CAPTAIN 
O'HARA  R.  i  E. — Aloud)  Ah,  Mr.  Padbury,  sit 
down.  (PADBURY  sits)  If  you  have  missed  Mr. 
Temple,  you  can  at  least  hear  his  music  as  it  drifts 
this  way. 

PADBURY.    Yes,  my  lady. 

LADY  NEVILLE.  I  have  heard  Mr.  Temple  say  you 
have  some  interest  in  him  aside  from  friendly  rela 
tions? 

PADBURY.  (L.  sitting,  rejoiced)  Oh,  he  'as  men 
tioned  me !  Yes,  my  lady,  I'm  his  patron.  I'm  his 
creditor. 

LADY  NEVILLE.  How  very  interesting!  Then 
Mr.  Temple  is  somewhat — in  your  debt  ? 

PADBURY.  Somewhat?  I  hold  that  thick  of  his 
father's  notes  with  his  endorsement.  He  ain't  got  a 
penny  but  it's  mine ;  not  a  penny. 

LADY  NEVILLE.  Ah,  then  you  are  his  Maecenas  ? 
(Rising) 

PADBURY.  His  what?  (Rises,  comes  c.)  More 
like  his  Moses,  my  lady.  It  all  began  with  me  lending 
money  to  his  father  for  his  horse-racing.  Then  when 
the  father  died,  young  Temple  comes  and  says  he'll 
pay  his  father's  debts  some  day,  and  so  he  endorses 
his  father's  notes.  Oh,  he's  got  pluck  and  spirit,  he 
has,  even  if  he  does  play  the  riddle!  (Seeing  that 
LADY  NEVILLE  does  not  listen,  he  stops) 

(Stop  music.) 

LADY  NEVILLE.  (Rises,  seeming  to  forget  PAD- 
BURY)  Struggling  and  involved — !  If  this  weight 
were  lifted  from  his  shoulders,  surely  he  might  feel 
more  than  this — gratitude — (R.  of  table) 

PADBURY.  (c.  coughing  twice  and  fidgeting) 
Your  ladyship  doesn't  'ear  what  I'm  saying. 

LADY  NEVILLE.     (Standing  back  of  table)     On 


8  HEARTSEASE. 

the  contrary,  I  was  thinking  how  fortunate  Mr. 
Temple  is  in  having  such  a  friend!  (Coming  c.) 

PADBURY.  That's  what  I  tell  him.  But  he  says 
to  me,  my  Lady,  sometimes  he  wishes  I  was  in  my 
strong-box  along  with  his  father's  notes.  (Goes 
L.  c.) 

LADY  NEVILLE.  (Suddenly?— aside)  Indeed! 
Mr.  Padbury,  will  you  call  on  me  to-morrow  ? 

PADBURY.  (Surprised)  Will  I  call?  your  lady 
ship,  I  will  call  in  a  chariot ! 

LADY  NEVILLE.  (Mysteriously  and  hurriedly) 
You  need  not  wait  to  see  Mr.  Temple  now.  Come 
early  to-morrow,  and  don't  mention  it  to  anyone. 

PADBURY.    No,  my  lady 

LADY  NEVILLE.  Not  even  to  Mr.  Temple — and, 
Mr.  Padbury 

PADBURY.    Yes,  my  lady 

LADY  NEVILLE.  Bring  Mr.  Temple's  notes  with 
you. 

(Enter  POMFRET  and  TWOMBLY.) 

PADBURY.    Does  your  ladyship  mean ? 

LADY  NEVILLE.    Hush! 

PADBURY.  (Aside)  Your  ladyship  seems  very 
fond  of  music  ? 

LADY  NEVILLE.  Gentlemen,  this  is  Mr.  Padbury ; 
Sir  Geoffrey  Pomfret,  Major  Jwombly — (Going 
R.  E.) 

PADBURY.  How  do  you  do,  Sir  Geoffrey  ?  How 
do  you  do,  Major?  Nobody  never  takes  no  notice 
of  me.  (Goes  up  c.) 

LADY  NEVILLE.  (At  entrance  R.  bowing.  Exits 
R.)  Gentlemen! 

MAJOR.  (Both  L.  of  table)  Lady  Neville  seems 
interested  in  Mr.  Temple's  friends  as  well  as  Mr. 
^Temple. 

SIR  GEOFFREY.  (Front  of  table  R.)  It's  mon- 
gtrpus.  Lord  Neville  shall  be  informed,  but  how  ? 


HEARTSEASE.  0 

MAJOR.    Why  not  a  squib  in  the  Chronicle  ? 

SIR  GEOFFREY.    One  that  would  make  him  squirm. 

MAJOR.     Have  it  placed  under  the  Court  News. 

SIR  GEOFFREY.  Good.  His  Lordship  always  reads 
that.  I'll  write  it  now.  Major,  take  him  aside,  pump 
him,  and  learn  how  he  stands  with  Temple.  (Goes 
to  desk  R.) 

MAJOR.    Mr.  Padbury.     (Offering  hand) 

PADBURY.  (Coming  c.  from  L.)  Major — (De 
lighted.  Shakes  hands  with  MAJOR) 

MAJOR.    So  you  are  a  friend  of  Mr.  Temple  ? 

PADBURY.  A  friend !  A  friend  indeed !  (Signif 
icantly)  I  was  a  friend  in  need. 

MAJOR.    So  he  is  in  your  debt  ? 

PADBURY.  He  is  up  to  that  in  debt  with  me — 
promissory  notes  of  every  kind.  Why,  I  could  clap 
him  in  jail,  but  I  have  a  good  heart.  (Turns  away) 

SIR  GEOFFREY.  (Coming  L.  of  table)  Major, 
read  that. 

{PADBURY  goes  £.y 

MAJOR.  r(Reading)  How  long  will  it  be  before 
the  old  Lord,  her  husband,  will  rhyme  with  his  own 
name  and  send  the  young  composer  to  the  devil — 
devil — Neville.  (Laughs)  A  fellow  in  the  City  ? 

SIR  GEOFFREY.  By  the  way,  what  did  you  learn 
from  that  city  brute?  (Indicating  PADBURY) 

MAJOR.  He  owns  Temple,  spurs  and  feathers— * 
Deep  in  Padbury's  debt! 

SIR  GEOFFREY.  Good,  Padbury  must  be  got  to 
squeeze  him  for  the  money.  Twenty  guineas  if  you 
land  Temple  in  the  sponging-house. 

MAJOR.  Done!  (Claps  hands.  Turning  to  PAD- 
BURY — going  to  him)  Mr.  Padbury,  when  shall  we 
see  you  again  ?  I  know  a  gentleman  who  might  take 
up  one  or  two  of  Mr.  Temple's  notes. 

PADBURY.    (Slighted,  now  swelling  with  pride,  as^ 
he  advances)     Sir,  I  have  the  honor  to  wait  upon! 


to  HEARTSEASE. 

Lady  Neville  to-morrow.  Perhaps  we  shall  meet 
here  at  Burton  House. 

SIR  GEOFFREY.    What,  here  at  Burton  House  ? 

PADBURY.    By  her  ladyship's  special  invitation. 

SIR  GEOFFREY.    (R.,  half -aside)    Incredible ! 

PADBURY.  (L.  c.)  Oh,  it's  true.  My  lady  told 
me  to  be  sure  and  come — and — between  gentlemen, 
I  don't  mind  telling  you  that  I've  found  a  purchaser 
for  Mr.  Temple's  notes. 

(Look  between  SIR  GEOFFREY  and  MAJOR.) 

MAJOR.  Indeed,  sir,  and  may  I  ask  the  gentle 
man's  name? 

PADBURY.  (As  if  remembering  his  promise  to 
LADY  NEVILLE)  It  ain't  no  gentleman.  Ha!  Ha! 

MAJOR.    A  fellow  in  the  city  ? 

PADBURY.    I  don't  mention  no  names — (Goes  up) 

MAJOR.  (To  SIR  GEOFFREY)  Could  it  be  Lady 
Neville? 

SIR  GEOFFREY.  No,  no,  pay  a  man's  debts  ?  (SiR 
GEOFFREY  looks  R.)  Take  him  away. 

MAJOR.  Come,  Mr.  Padbury.  I  will  return  with 
you  to  the  city. 

(Music.) 

PADBURY.  With  pleasure,  Major.  I  hope  her 
ladyship  won't  feel  hurt  at  my  not  saying  good-bye  ? 

MAJOR.  Oh,  no — and  then,  to  the  Chronicle. 
(Exit  L.  c.  with  PADBURY) 

SIR  GEOFFREY.  (R.  above  table)  Paying  Temple's 
debts !  No,  even  she  would  not  be  so  rash — paying 
his  debts.  At  any  rate  I  don't  think  the  fellow 
will  call  so  frequently  at  Burton  House.  (Exits  R. 
i.  E.  Enter  DOXTON) 

DOXTON.  This  way,  Mr.  Temple.  (ERIC  and 
ALICE  enter.  ERIC  hands  note  to  DOXTON.  He  then 
exits) 


HEARTSEASE.  II 

ALICE.  Eric,  the  music  has  begun — we  are  late ; 
and,  brother,  how  can  we  explain  ? 

ERIC.  Explain?  The  truth  will  do  that,  dear. 
The  way  was  long.  I  came  on  foot. 

ALICE.    Oh,  Eric! 

ERIC.  Courage,  dear,  only  courage.  See,  my 
opera  here  in  Burton  House !  Almost  in  Darville's 
hands.  Do  you  not  know  what  that  may  mean  to  us  ? 

ALICE.    (Shakes  her  head)    No ! 

ERIC.  Debts,  difficulties,  troubles,  all  at  an  end. 
We  two  free,  out  of  the  shadow  into  God's  glad, 
laughing  world,  and  through  you,  my  work,  into 
which  I  have  poured  all  the  fancies,  longings,  pas 
sions,  that  were  born  with  me,  that  have  grown  with 
my  growth  and  have  strengthened  with  my  strength, 
until  they  have  burst  into  one  triumphant  song  of 
love. 

ALICE.    Love  ? 

ERIC.  Yes,  that  which  I  shall  sing  to-night  shall 
tell  her  of  my  hopes,  my  fears,  will  lay  here  my 
soul,  which  with  this  poor  song  I  dedicate.  (Reads) 
"Heartsease,  to  Margaret.  Eric  Temple" 

ALICE.  Lord  Neville's  daughter — a  beauty  of 
rank  and  pride,  brother  dearest.  (Clings  to  him) 
We  two  have  been  all  the  world  to  each  other,  have 
we  not?  We  have  suffered,  hungered,  hoped  to 
gether,  we  are  together  still.  Eric,  dear,  come  away 
from  this  new  world.  Come  while  there  is  time, 
come  back  into  obscurity,  into  the  shadow  if  it  need 
be,  only  come.  Come  away  from  Miss  Neville; 
forget  your  love  for  her. 

ERIC.  (R.  c.)  Forget  my  love  for  her?  Ask  me 
to  forsake  my  music,  to  put  away  ambition,  to  for 
get  my  hopes,  deny  my  dreams ! — Don't  bid  me  de 
spair.  She  shall  reach  down  from  her  high  firma 
ment  to  me  as  I  strive  on,  until  some  day  I  shall 
scale  the  heights  to  happiness. 

[(Music  stops.    Enter  CAPTAIN  O'HARA.)' 


12  HEARTSEASE. 

O'HARA.  Oh,  Eric,  my  dear  boy,  I'm  just  long 
ing  to  see  you.  (Goes  to  ALICE,  L.,  and  takes  her 
hands) 

ERIC.  Oh,  I  know,  Jack;  you're  always  longing 
to  see  me,  and  then  you  might  be  blind  for  all  you 
look  at  me. 

O'HARA.  (Looking  in  ALICE'S  face)  Sure,  I'm 
gazing  at  you  in  the  prettiest  looking-glass  in  the 
kingdom.  (Going  up  c.) 

ALICE.  Captain  O'Hara,  I  protest.  You  never 
said  such  a  thing  before! 

O'HARA.  I'm  mostly  dumb  in  your  presence,  but 
Eric's  flint  struck  my  steel,  and  then  the  sparks 
flew;  if  they  only  fell  on  the  tinder  of  your  little 
heart ! 

ALICE.  (L.)  It  is  not  tinder,  or  tender,  either, 
Captain  O'Hara.  (Goes  up  L.) 

(Enter  LADY  NEVILLE  and  DARVILLE,  followed  by 
SIR  GEOFFREY.) 

JACK.  Eric,  I'd  like  to  discuss  that  subject  with 
her.  (Crosses  up  L.) 

ERIC.    Will  your  ladyship  pardon  my  tardiness  ? 

LADY  NEVILLE.  You  have  brought  the  opera 
with  you?  (Pause.)  ^Vill  you  not  intrust  it  to  me 
until  to-morrow? 

ERIC.  Lady  Neville,  I  commend  it  to  your  care. 
I  cannot  thank  you,  but  if  you  ever  hear  it,  it  will 
tell  you  at  least  I  know  the  duty  I  owe  to  you. 

LADY  NEVILLE.  Surely  it  will  give  you  back  some 
part  of  all  the  thought  you  have  spent  upon  it.  It 
shall  rest  safely  here,  Mr.  [Temple.  (Places  it  in 
cabinet  L.) 

ERIC.    I  thank  your  ladyship. 

LADY  NEVILLE.  With  what  do  you  intend  to  de 
light  us  ? 

ERIC.    A  simple  ballad  which  I  hope  will  please 


HEARTSEASE.  *3 

your  ladyship,  and  which  I  have  called  ''Hearts- 


(Exeunt,  O'HARA  and  LADY  NEVILLE.  Song  off 
R.  SIR  GEOFFREY  gets  Ms.  from  Cabinet  L., 
looks  over  its  pages.) 

SIR  GEOFFREY.  That  opera  will  make  him 
famous.  (Puts  Ms.  back.  At  end  of  songf  ap 
plause)  Margaret  is  the  first  to  congratulate  him. 
That  opera  shall  never  reach  Covent  Garden.  (  Goes 
up) 

MARGARET.  (Enters  R.  looking  at  song) 
"Heartsease,  to  Margaret.  Eric  Temple."  (Sees 
SIR  GEOFFREY)  Ah,  Cousin  Geoffrey,  why  were 
you  not  listening  to  the  music  ? 

SIR  GEOFFREY.    Is  it  so  very  wonderful  ? 

MARGARET.  Wonderful — to  me  it  seemed  like  no 
other  music  I  ever  heard ;  both  words  and  music. 

SIR  GEOFFREY.  (L.  c.)  If  I  could  only  touch 
your  heart  with  words,  with  music,  or  with  my  love ! 

MARGARET.    (R.  c.)    Geoff rey,  not  again !    (Goes 

L.) 

SIR  GEOFFREY.  Ah,  I  have  loved  you  since  you 
were  a  child ;  then  I  could  wait,  but  now  you  are  a 
woman,  I  must  have  my  answer,  Margaret.  I  speak 
with  your  father's  sanction,  Margaret;  tell  me  my 
love  is  returned. 

MARGARET.  Hush,  cousin,  here  come  Mr.  Tem 
ple. 

SIR  GEOFFREY.  S'  death!  Is  there  nothing  buf 
this  Temple  in  the  air — his  genius,  his  opera? 
'(Crossing  L.) 

MARGARET.  Yes,  more,  more,  see  this  song  he  has 
dedicated  to  me. 

SIR  GEOFFREY.  "  Heartsease,  to  Margaret.  Eric 
Temple."  Odd!  So  poetic,  and  to  some  purpose, 
Mr.  Temple ! 


I4  HEARTSEASE. 

MARGARET.  Write  one  like  it  if  you  can,  Cousin 
Geoffrey.  (Crosses  L.  c.) 

ERIC.  (Enters  R.  Comes  c.)  Ah,  Sir  Geoffrey! 
(Crosses  to  c.)  I  had  hoped  to  have  your  opinion 
of  my  song.  Yours  is  a  judgment  I  should  have 
valued. 

SIR  GEOFFREY.  To  me  it  has  a  striking  fault. 
(Crosses  to  c.) 

ERIC.    (R.  c.)    Indeed,  and  that? 

SIR  GEOFFREY.    The  dedication. 

MARGARET.  (L.  c.)  Since  Miss  Neville  is  pleased 
to  allow  the  dedication,  I  cannot  see  how  it  con 
cerns  Sir  Geoffrey  Pomfret? 

ERIC.    Miss  Neville,  I  thank  you. 

SIR  GEOFFREY.  (To  ERIC)  JVe  will  discuss  this 
at  another  time. 

('CELLO  SOLO  off  R.) 

ERIC.  At  any  time  you  choose.  '(Exit  SIR 
GEOFFREY  up  c.)  Ah,  Sir  Geoffrey  and  I  were 
never  friends,  Miss  Neville.  Even  in  the  old  days 
at  Rugby  we  were  rivals. 

MARGARET.  Never  fear,  Mr.  Jemple,  he  could 
never  rival  this,  your  song. 

ERIC.    If  it  pleases  you,  Miss  Neville. 

MARGARET.  It  seems  to  fill  the  air,  the  room,  with 
witchery.  You  are  a  conjurer,  sir.  What  is  the 
secret  of  your  power? 

ERIC.  It  is  only  in  the  inspiration,  in  the  senti 
ment  that  fills  my  heart  as  I  write. 

MARGARET.  (Seated  at  harpsichord)  It  almost 
seems  to  speak. 

ERIC.    I  wish  it  could,  that  it  might  speak  for  me. 

MARGARET.     I  wonder  what,  then,  it  would  say? 

ERIC.    Cannot  you  guess  the  words  ? 

MARGARET.    No,  I  only  know  it  is  very  sweet. 

ERIC.    And  yet  the  sweetest  song  that  time  has 


HEARTSEASE.  ;i5 

ever  sung  to  life  is  singing  in  my  heart  as  I  stand 
thus  with  you.  It  is  the  song  of  love. 

MARGARET.    (Rises)    Mr.  Temple! 

ERIC.    Ah,  let  me  speak. 

MARGARET.    No,  no. 

ERIC,  (c.)  Have  I  offended  you?  But  what 
could  I  do?  Love  has  so  filled,  so  overflowed  my 
heart  that  I  cannot  hold  the  words  in  check,  or  if  I 
did,  my  love  for  you  must  find  an  echo  in  my  voice, 
if  I  should  say  the  day  is  beautiful.  I  did  dare  hope 
you  had  seen  it  written  in  my  song.  Have  I  looked 
too  far  above  me?  Must  I  turn  my  eyes  to  earth 
again  ?  Have  I  dreamed  too  fair  a  dream  ? 

MARGARET.  Ah,  it  is  too  sweet!  It  will  be  too 
bitter  when  the  dream  is  past. 

ERIC.  Can  my  devotion  count  for  me,  cover  my 
poverty  and  my  faults  and  lift  me  nearer  to  you  ? 

MARGARET.  Ah,  no,  it  is  not  that,  but  pride,  the 
father's  dream  of  an  almost  royal  wedding  for  the 
child  he  loves.  (Goes  up)  Ah,  Eric,  for  your 
own  sake  I  would  have  you  win  the  success  you  are 
striving  for.  Reach  for  fame  and  honors,  but  should 
the  struggle  be  too  long,  come  to  me,  and  I  will  join 
you  at  my  father's  feet. 

ERIC.    Margaret!    You  mean 

MARGARET.    Eric !    I  love  you. 

ALICE.     (Off  L.  c.)     Eric! 

MARGARET.  (Releases  herself  and  rushes  to  door 
R.  Taking  flowers  from  waistband,  she  throws  them 
to  ERIC)  Heartsease  for  heartsease.  There's  a 
flower  for  your  song.  (Exits) 

(Enter  ALICE  R.  u.  E.) 

ALICE.    Eric,  what  pretty  flowers. 
ERIC.      Heartsease,    Alice — Heartsease,    and    I 
bought  them  for  a  song ! 

CURTAIN. 


16 


ACT  II. 
SCENE  :  —  Same  as  ACT  I. 

DISCOVERED:  —  LORD   NEVILLE  seated  in  arm 
chair  near  table  R.  c.,  reading  paper.) 

LORD  NEVILLE.  (Dashing  down  paper)  This 
fellow  Pitt  will  never  do.  We  want  Lord  North 
again.  He'd  put  the  Tories  on  their  feet.  (Rising  — 
with  sudden  pain)  Ah!  The  party  has  the  gout, 
as  well  as  —  (Enter  DOXTON,  with  several  folded 
newspapers  on  a  salver)  Well,  what  is  it? 

DOXTON.    Papers,  my  lud? 

LORD.  I've  read  the  papers.  (Taking  the  papers) 
What's  this  scrawl?  (Reads  with  glass)  "Read 
under  the  heading  of  Court  News  —  ?  "  (  Turning 
over  paper  hastily)  Another  good  friend,  I  suppose, 
turned  out  by  Pitt  to  make  room  for  a  Whig.  Ha. 
"  Court  News."  (Reads)  "  At  all  the  fashionable 
clubs,  they  are  watching  the  intrigue  of  a  young 
genius  who  comes  of  a  profligate  family."  (Laugh 
ing)  Ha!  Ha!  Gad!  The  town's  full  of  Jem. 
(Reads)  "  He  has  dedicated  a  song  to  the  Honor 
able  Miss  —  blank."  (Alert)  A  musical  genius! 
(Reads)  "  In  order  to  cover  his  devotion  to  — 
(With  growing  anger)  the  virgin's  young  step 
mother."  Eh!  Zounds!  (Reads)  '"Bets  are 
offered  as  to  how  long  it  will  be  before  the  old  lord, 
her  husband  "  —  Damme  !  is  that  for  me  ?  —  "  before 
the  old  lord,  her  husband  will"—  (Enter  POMFRET. 
Mystified)  —  "  rhyme  with  his  own  name  and  send 
the  young  composer  to  the  devil!"  (Enraged) 
Neville!  Devil!  (Tearing  up  paper,  stamping  on 
it,  then  he  -feels  gout  twinges,  and  sits  down) 

SIR  GEOFFREY,  (c.)  Why,  what's  amiss,  my 
lord  ?  (Seeing  papers)  H'm  ! 


HEARTSEASE.  17 

LORD  NEVILLE.  (Choking  with  rage)  What's 
amiss?  (Pointing  at  papers)  The  wasps,  the 
scribblers — the  assassins  with  blanks  and  dashes — 
and — and — rhymes 

SIR  GEOFFREY.  (Sympathetically)  Is  it  possi 
ble?  Rhyming  on  your  lordship?  (Stooping  to 
pick  up  pieces) 

LORD  NEVILLE.  Don't  stoop  to  the  damned  thing ! 
Read  that!  (Taking  up  paper  in  each  hand  from 
salver)  Here!  My  friends  want  me  to  enjoy  it. 
(Gives  one  to  SIR  GEOFFREY  and  tears  the  other) 

SIR  GEOFFREY.  (Looking  slowly  over  paper)  I 
can  see  no  rhymes. 

(LORD  NEVILLE  throws  it  down  and  is  about  to 
stamp  on  it,  but  does  not,  dreading  a  repetition* 
of  gout  twinge.) 

LORD  NEVILLE.  No,  no  rhymes!  /  make  th* 
rhymes ! 

SIR  GEOFFREY.    You  write  poetry,  my  lord? 

LORD  NEVILLE.  No,  damn  it !  Look  there !  Read 
that !  ( Takes  snuff  angrily) 

SIR  GEOFFREY.  (Reads  paragraph  with  feigned 
astonishment) — Young  genius — young  stepmother — 

LORD  NEVILLE.    Ah ! 

SIR  GEOFFREY.  (Reading) — Sending  the  com 
poser  to  the  devil !  Devil ! ! 

LORD  NEVILLE.  (Rising)  You  see,  devil- 
Neville. 

SIR  GEOFFREY,     (c.)    Why  not  Greville? 

LORD  NEVILLE.  (Grasping  at  idea  gladly)  Ah! 
(Rejecting)  No,  Greville's  a  widower;  not  such 
an  old  fool  as  to  marry  again. 

SIR  GEOFFREY.    I  feared  it.    (Crosses  to  L.) 

LORD  NEVILLE.    Feared  what  ? 

SIR  GEOFFREY.  (L.  c.)  A  scandal.  I  hoped  her 
ladyship  would  detect  it,  but  this  fellow  Temple  has 
presumed  so  adroitly,  and  it  has  gone  so  far. 


HEARTSEASE. 


LORD  NEVILLE.  (R.  c.)  So  far?  How  far? 
Has — has  he  dedicated  a  song  to  Margaret? 

SIR  GEOFFREY.  (L.  c.)  Margaret  innocently 
showed  it  to  me  yesterday — she  suspects  nothing. 

LORD  NEVILLE.    (Rising)    And  Lady  Neville? 

SIR  GEOFFREY.  (Hesitating.  Crosses  c.)  Lady 
Neville.  (Pause)  No  doubt 

LORD  NEVILLE.  (Rising,  coming  c.)  Come, 
speak  like  a  man,  like  a  friend. 

SIR  GEOFFREY,  (c.)  No  doubt,  Lady  Neville  is 
a  trifle  dazzled  by  the  fellow's  genius — he's  queer, 
suspicious — engaging  after  a  fashion — and — young. 

LORD  NEVILLE.  (Angrily)  What  the  devil  has 
his  age  to  do  with  it  ? 

SIR  GEOFFREY.  (L.)  But  to  suppose  that  Lady 
Neville — oh,  absurd,  shocking!  The  fellows  who 
write  these  things  ought — (Crosses  to  L.)  to  be 
pilloried. 

LORD  NEVILLE,  '(c.)  You're  dodging,  Pomfret, 
speak  out ;  Lady  Neville 

SIR  GEOFFREY.  (L.)  No,  on  my  honor,  white  as 
the  driven  snow.  (Bows) 

LORD  NEVILLE.  (R.  c.  Recollecting)  Why,  the 
fellow's  coming  here  to-day.  His  opera's  here.  I'm 
to  speak  for  itV-speak  for  it — speak  for  it — and  to 
him.  Zounds !  1  I'll  have  him  forbidden  the  house — 
I'll— (Going  ufo 

SIR  GEOFFREY,     (c.)     No,  no  violence.     Your 


position's  a  trifl 
treat  him  civilly- 


impatience)  hear\his  opera,  say  it  won't  do,  and — 
show  him  out. 

(Crossing  c.  to  SIR  GEOFFREY) 
l>r  a  Quaker,  or  a  cringing  tailor  ? 
(L.  of  c.)     Why  wound  Lady 


LORD  NEVILLE 
Do  you  take  me 

SIR  GEOFFREY 
Neville? 

LORD  NEVILLE 
R.  to  table.  Poin 


delicate.     Let  him  come  here — 
(Coolly  enjoying  LORD  NEVILLE'S 


Odds   life!     They—  (Crossing 
ng  to  paper)  make  no  face  about 


HEARTSEASE.  19 

wounding  me.  Where's  Margaret  ?  How  dares  this 
Temple  dedicate — (Going  up-stage  c.) 

SIR  GEOFFREY.  Hush.  Temple's  sister  is  with 
Margaret  in  the  garden.  (Pointing  R.) 

LORD  NEVILLE.  (Coming  down  to  L.  of  R.  table — • 
sitting)  The  whole  family?  (Sits  R.) 

SIR  GEOFFREY.  (Crossing  to  him  c.  R.)  My 
Lord,  under  your  favor,  I  hope  to  make  Margaret 
my  wife.  I  trust  you  will  consider  me  when  you 
think  of  violence  towards  Mr.  Temple.  A  little  tact, 
a  little  patience.  (Enter  LADY  NEVILLE  at  back,  in 
street-dress.  SIR  GEOFFREY  bowing,  L.  u.  E.)  Good 
morrow.  Lady  Neville. 

LADY  NEVILLE.  (Going  down  L.  Bowing) 
Good- morning,  Geoffrey,  calling  on  Margaret  al 
ready  ?  (LADY  NEVILLE  gives  staff  to  page) 

LORD  NEVILLE.  Your  ladyship  has  been  abroad  ? 
(R.  c.) 

LADY  NEVILLE.  (L.  c.  A  little  taken  back. 
Seated  on  sofa  L.)  I  was  carried  through  the  park 
in  my  chair  as  far  as  my  milliner's  in  Bond  Street — 

LORD  NEVILLE.    Any  music  at  the  milliner's? 

LADY  NEVILLE.  (Laughs.  LORD  NEVILLE  goes 
up.  After  a  pause)  Music?  Oh,  lud.  Her 
squeaking  English!  (SiR  GEOFFREY  crosses — and 
up  L.)  Going,  Geoffrey? 

SIR  GEOFFREY.  I  am  waited  for  at  White's,  my 
lady.  (Bows.  As  he  passes  up,  motions  LORD 
NEVILLE  not  to  show  paper  to  LADY  NEVILLE. 
LORD  NEVILLE  follows  him  up,  paper  in  hand. 
SIR  GEOFFREY  at  back  bows  again,  and  smiles  ma 
liciously) 

LORD  NEVILLE.    Come  back  to  dinner. 

SIR  GEOFFREY.  Delighted.  (Business  between 
them.  Bows  and  exits  up  R.  c.) 

LADY  NEVILLE.  (Throws  herself  back  languidly) 
Are  you  going  out,  dear  George  ?  You  can  take  my 
chair. 


20  HEARTSEASE. 

—i 

LORD  NEVILLE.  (Drily)  Thank'ee,  my  lady. 
(Looks  at  papers  and  then  at  LADY  NEVILLE) 

LADY  NEVILLE.  (Arranging  her  toilet  and  look 
ing  at  LORD  NEVILLE)  You  won't  forget  that  Mr. 
Temple  is  coming?  (LORD  NEVILLE  just  about  to 
sit,  now  jumps  up)  to  play  his  opera,  and  that  M. 
Darville 

LORD  NEVILLE.  (Suddenly,  goes  over  c.)  My 
lady!  What  are  you  coddling  this  music  scribbler 
for? 

LADY  NEVILLE.  (Rising,  then  with  forced  laugh, 
going  gaily  to  him)  You  won't  laugh? 

LORD  NEVILLE.    Be  sure  of  that — I  won't  laugh. 

LADY  NEVILLE.  Well,  I  want  to  be  a  la  mode.  I 
want  to  be  a  patroness — a  real  lady  patron  of  the 
arts — the  discoverer  of  a  genius. 

LORD  NEVILLE.    H'm!     (Crosses  R.  and  sits) 

LADY  NEVILLE.  (Going  over  to  LORD  NEVILLE, 
R.  c. — over  back  of  his  chair)  Just  think  of  it,  Lady 
Montgallop's  husband  is  so  much  older  than  you, 
dear,  and  yet,  because  she  discovered  the  poet  of 
Teddington,  she's  toasted  everywhere.  (Crosses 
down  R.  back  of  table) 

LORD  NEVILLE.  (Turning  to  her)  What  has  my 
age  to  do  with  it  ? 

LADY  NEVILLE.  Pure  coincidence,  my  lord. 
(Sitting  R.  of  table)  Then  the  young  Marchioness 
of  Tenley,  who  dicovered  a  Welsh  bard  at  some  un 
pronounceable  festival;  has  been  thanked  in  the 
name  of  the  Prince  of  Wales. 

LORD  NEVILLE.  (Across  table)  And  is  the  Mar 
quis  as  old  as  Montgallop? 

LADY  NEVILLE.    Older,  still  older. 

LORD  NEVILLE.  Here's  a  new  industry  for 
young  wives  of  old  husbands.  (Rising)  Discover 
ing  a  genius!  (Goes  L.  c.)  The  genius,  of  course, 
must  be  young.  There  never  was  an  old  genius. 

LADY  NEVILLE.  (Demurely)  They  should,  if 
possible,  be  discovered  young. 


HEARTSEASE.  2t 

LORD  NEVILLE.  (Taking  out  watch)  What  time 
does  this  young  genius  of  yours  come  here  to-day? 

LADY  NEVILLE.     (Rises — brightly)     In  an  hour. 

LORD  NEVILLE,  (c.)  Well,  I'll  be  here  and  Dar- 
ville  won't. 

LADY  NEVILLE.     (Crosses  L.)     He  will. 

LORD  NEVILLE.  (Crosses  to  R.)  He  won't. 
(Rings) 

LADY  NEVILLE.    He  will. 

LORD  NEVILLE.    (Crosses  R.)     He  won't. 

LADY  NEVILLE.  (Crosses  L.)  Why  not,  my  lord ? 
Am  I  to  have  none  of  the  privileges  of  a  woman  of 
quality?  Must  I  be  denied  all  the  distractions 
proper  to  my  age? 

LORD  NEVILLE,  (c.)  This  Temple's  father  was 
a  profligate. 

LADY  NEVILLE.  (L.  c.)  A  pretty  reason !  (Goes 
up  L.) 

LORD  NEVILLE.  (R.  c.)  He's  a  Lovelace  him 
self — learned  the  art  in  Italy. 

LADY  NEVILLE.  (L.  c.  going  to  him)  Fie,  my 
lord.  Who  was  been  abusing  this  worthy  man  to 
you? 

LORD  NEVILLE.  Who?  Everybody.  Zounds,  I 
don't  like  him!  (Enter  DOXTON.  Crosses  to  R.) 
Won't  have  him.  Doxton 

DOXTON.    Yes,  my  lord? 

LORD  NEVILLE.  My  compliments  to  M.  Darville 
at  Covent  Garden  Theater,  and  he  needn't  trouble  to 
come. 

DOXTON.    Yes,  my  lud! 

LADY  NEVILLE.  (L.  c.)  My  compliments  to  Dar 
ville,  and,  and — and — (Confused)  Oh,  dear — 
(Stops  at  a  look  from  LORD  NEVILLE) 

DOXTON.    Yes,  my  lady. 

LORD  NEVILLE.    (To  DOXTON)    Now,  go! 

DOXTON.    Yes,  my  lady. 

LADY  NEVILLE.     (To  DOXTON)     No,  wait. 

DOXTON.    Yes,  my  lady. 


22  HEARTSEASE. 

LORD  NEVILLE.  (To  DOXTON)  Now,  what's 
your  message? 

DOXTON.  You  don't  like  him  and  you  won't  have 
him,  and  he  needn't  trouble,  my  lud ! 

LORD  NEVILLE.  (Down  R.  c.)  Oh,  go  to  the 
devil ! 

DOXTON.    Yes,  my  lud.    (Exits  hastily  c.) 

LORD  NEVILLE.  I'll  leave  the  message  myself. 
(Sits  R.) 

LADY  NEVILLE.  (Walking  up  and  down  stage) 
'Tis  fortunate  I  am  no  longer  a  dependent  as  well 
as  a  wife. 

(Enter  MARGARET  R.  i  E.) 

LORD  NEVILLE.  Your  old  aunt  died  with  her  two 
hundred  thousand  pounds  in  the  nick  of  time,  eh? 
To  make  you  independent,  and  ride  hobbies  in  spite 
of  me,  eh?  (MARGARET,  seated  R.  of  table,  takes 
LORD  NEVILLE'S  hand)  Margaret,  you  are  a  girl  of 
common  sense,  I  appeal  to  you. 

LADY  NEVILLE.  Very  well,  my  lord.  (Goes  c.) 
I  shall  retire.  I  don't  relish  an  appeal  to  a  daugh 
ter  who  is  only  four  years  younger  than  her 
mother — (Up  at  door  R.)  although  forty  years 
younger  than  her  father.  ^  (Exits  at  R.  3  E.) 

MARGARET.  What  is  it,  father?  (Crosses  back 
of  table) 

LORD  NEVILLE.  This  Temple  dedicates  a  song  to 
you — Insufferable ! 

MARGARET.    Why,  father,  it  is  an  honor. 

LORD  NEVILLE.  Bah !  It  is  only  a  cover  to — the 
long  and  the  short  of  it  is,  I  don't  wish  Lady 
Neville's  name  to  be  publicly  paraded  with  this  fel 
low.  He  is — a  wholly  unworthy  person. 

MARGARET.  (Rises,  goes^  c.  Going  c.)  Oh,  my 
lord,  you  are  in  error.  He  is  a  true,  brave  man,  and 
in  music,  a  genius. 

LORD  NEVILLE.     Eh!     [You've  caught  the  cant 


HEARTSEASE.  23 

word,  too;  you  also  are  going  about  discovering,  eh? 

MARGARET,     (c.)     I  don't  understand. 

LORD  NEVILLE.    Then  you  shan't. 

MARGARET.  (Crossing  to  him  and  kneeling  at  his 
knee)  Father,  tell  me  what  you  have  heard? 

LORD  NEVILLE.  All  the  clubs  are  talking  about 
it.  This  Temple  is  one  of  those  designing — ah — 
specious  fellows  who  steal  into  women's  hearts  with 
a  trick  of  a  fan  or  a  glove.  (She  rises)  Ah! 
You've  noticed  the  fellow's  arts  ? 

MARGARET.    No,  father,  it  is — incredible. 

LORD  NEVILLE.  (Rising,  goes  to  herf  c.)  Well, 
keep  a  sharp  lookout — for  my  sake. 

MARGARET.  Father,  I'll  not  hear  of  it — Lady 
Neville?  (Going  D.  E.) 

LORD  NEVILLE.  Then  if  you'll  not  concern  your 
self  about  it,  leave  it  to  me  and  your  Cousin  Sir 
Geoffrey.  He  has  some  sense  of  the  family  honor, 
and  since  you  will  be  Lady  Pomfret  soon — maybe 
it's  as  well.  (Crosses  to  c.) 

MARGARET.  I  shall  never  be  Lady  Pomfret ;  I  do 
not  love  Sir  Geoffrey. 

LORD  NEVILLE.  Pooh !  A  man  with  ten  thousand 
a  year.  (Goes  up  c.)  A  musician — since  you  love 
music!  You'll  change  your  tune. 

MARGARET.  (Aside,  goes  up)  Eric!  Lady 
Neville !  Oh,  I'll  not  believe  it !  (Exit  R.  2  E.) 

LORD  NEVILLE.  (Looking  after  her)  Could  she? 
Oh,  nonsense!  H'm!  The  first  thing  is  to  stop 
Darville.  (Going  up  c.  Enter  DOXTON  with  an 
other  hat  and  cane)  Why  couldn't  you  bring  these 
at  first,  dolt?  (Putting  on  hat) 

DOXTON.  (In  door)  Major  Twombly,  and  a 
City  gent. 

LORD  NEVILLE.  (In  anger)  Oh!  Oh!  (Goes 
*•) 

(Enter  PADBURY  and  MAJOR,  PADBURY  with  some 


24  HEARTSEASE. 

ribbons  on  his  coat,  MAJOR  in  a  new  suit.    Exit 

DOXTON.) 

MAJOR.  (Coming  forward  with  a  swagger  down 
c.)  Our  duty,  my  lordship.  (Bowing) 

LORD  NEVILLE.  (R.  buttoning  coat)  To  what  do 
I  owe  the — honor  ?  (Looking  savagely  at  PADBURY) 

PADBURY.  (Down  L.  of  c.)  We  thought  you'd 
be  gone  out,  my  lord. 

LORD  NEVILLE.  (Going  up  c.)  Oh,  you  did? 
Well,  I'm  going  out.  What  do  you  want? 

PADBURY.  (Crosses  c.)  Go  straight  out,  my 
lord.  It's  Lady  Neville  I'm  come  to  see,  and  the 
Major  skipped  along  with  me  friendly-like. 

MAJOR.  (Crosses  to  PADBURY)  Allow  me,  Mr. 
Padbury. 

PADBURY.  (Crossing  to  MAJOR)  Allow  me, 
Major? 

LORD  NEVILLE.  (L.  of  c.)  Oh,  rot  it,  I'm  in  a 
hurry !  What  do  you  want  ?  (  Goes  L.  ) 

PADBURY.  (R.  c.,  coming  down  to  him.  Bowing) 
Lady  Neville  invited  me  to  Burton  House  and  here 
I  am,  so  I  said  to  myself,  her  Ladyship's  bent  on 
helping  genius 

LORD  NEVILLE.    Oh,  you,  too — ah ! 

PADBURY.    Me,  too? 

LORD  NEVILLE.  (Backing  PADBURY  to  R.)  Has 
Lady  Neville  been  discovering  you?  Are  you 
young?  Are  you  a  genius? 

PADBURY.    Don't  kick,  my  lord. 

LORD  NEVILLE.  Kick?  Damme,  you'd  tempt 
Saint  Peter — (Walking  L.,  then  up) 

PADBURY.  (Following  him)  If  everything  goes 
right  with  my  lady  and  me,  I'll  invite  you,  my  lord, 
to  the  biggest  feet  shampeter — which  means,  my 
lord,  a  French  feed  in  the  open  air.  (R.  c.) 

LORD  NEVILLE.  (Going)  Why  don't  you  invite 
me  to  a  bed? 

PADBURY.     (Up  to  him)     Heartily  welcome. 


HEARTSEASE.  25 

LORD  NEVILLE.    Oh,  intolerable!    (Going  up  c.) 

PADBURY.    But,  my  lord 

LORD  NEVILLE.  Oh,  go  to  the  devil !  (PADBURY 
turns)  Damme  now,  I'll  settle  the  genius.  (Exits 
c.) 

MAJOR.  You've  put  your  feet  shampeter  into  it, 
Mr.  Padbury. 

PADBURY.  (L.  c.)  Why  don't  you  back  me  up? 
Ain't  I  took  you  to  my  house?  Ain't  I  filled  you 
with  old  beeswing  port?  (Crosses  to  c.) 

MAJOR.  (R.  c.)  Pooh!  Answer  a  civil  question. 
Have  you  clapped  Temple  into  jail? 

PADBURY.  (Smiling)  No,  I  am  merciful.  Be 
sides,  how  can  I  put  him  into  jail  if  he  pays  his 
debts  ? 

MAJOR.     (L.  c.)     Has  he  paid  them,  Padbury? 

PADBURY.  They're  as  good  as  paid !  Look  here — 
(Taking  out  notes,  points  over  shoulder)  Her 
Ladyship  invited  me  yesterday,  and  sent  a  chairman 
to-day  with  a  billet  doux  telling  me  not  to  forget  to 
come  and  bring  the  notes.  Ha,  ha,  ain't  it  good  ? 

(Enter  DOXTON  R.  3  E.) 

DOXTON.  (L.  2  E.)  Her  ladyship  will  receive 
Mr.  Padbury. 

PADBURY.  (Nudges  MAJOR.  To  DOXTON) 
Very  good,  sir.  (Crosses  c.) 

MAJOR.    H'h!    H'm!    Fellow!    Fellow! 

PADBURY.  (c.  to  DOXTON)  Very  good,  fellow. 
I'll  wait  upon  her  ladyship.  (Comic  business  with 
DOXTON  and  PADBURY — Exits  R.  2  E.)  Major, 
you'll  wait  for  me. 

MAJOR,  (c.)  Paying  Temple's  debts!  Here's 
news  for  Sir  Geoffrey. 

(Enter  LADY  NEVILLE  and  PADBURY  up  R.) 

LADY  NEVILLE.  Understand,  Mr.  Padbury,  not  a 
word  of  this  to  anyone,  not  even  to 


26  HEARTSEASE. 

(Enter  DOXTON  c.) 

DOXTON.    Mr.  Temple,  my  lady. 

LADY  NEVILLE.  (Hesitates — pauses)  Ask  the 
gentleman  to  await  me  in  the  garden. 

DOXTON.    Yes,  my  lady.    (Exit  DOXTON) 

LADY  NEVILLE.  (Up  steps)  Mr.  Padbury, 
kindly  remain  here  for  the  moment.  (Exits  R.  c.) 

PADBURY.  Paid  at  last.  (Enter  ALICE  and  MAR 
GARET)  Oh,  I  have  a  good  heart.  (Goes  L.) 

MARGARET.    Come,  Alice. 

ALICE,  (c.)  There's  Eric  and  Lady  Neville  in 
the  garden,  and  Captain  O'Hara.  Oh,  Miss  Neville, 
don't  you  think  that  I — that  you — that  we ? 

MARGARET.    Yes,  dear,  go  to  them  if  you  wish. 

ALICE.  Oh,  I  don't  wish.  I  merely  thought  that 
perhaps, — I  think  I'd  better  go.  (Exits  c.) 

MARGARET.    Mr.  Padbury 

PADBURY.  (Coming  down  L.  c.)  Welcome,  I 
say,  Miss,  the  noble  chance  that  led  to  this  tooth 
some  taste  of  fashionable  life. 

MARGARET.  (Smiling  as  if  in  spite  of  herself) 
LYou  enjoy  it,  Mr.  Padbury? 

PADBURY.  Enjoy  it?  Oh,  hugely,  I  assure  you, 
Miss — and  I  owe  it  all  to  my  goodness  of  heart. 

MARGARET.    Indeed  ? 

PADBURY.  Honorable  Miss  Neville,  you  wouldn't 
think  I  almost  owned  Mr.  Temple  up  to  a  quarter 
of  an  hour  ago? 

MARGARET.    Indeed ! 

PADBURY.  Why,  he  was  up  to  that  in  debt  to 
me — promissory  notes  of  every  kind.  Oh,  I've  a 
good  heart 

MARGARET.  (Eagerly)  His  debts  are  paid? 
(Back  of  table  R.) 

PADBURY.    Oh,  Lord  Neville  is  his  warm  friend. 

MARGARET.  (Surprised — with  interest)  My 
father? 


HEARTSEASE.  '^ 

PADBURY.  (Hesitates)  Well— not  exactly  your 
father— next  door  to  it-— almost  the  same  tiling-^ 
Lady  Neville 

MARGARET.    (Going  c.  to  him)    Lady  Neville? 

PADBURY.  (L.  c.)  Hush,  it's  a  secret.  I'll  tell 
you  all  about  it. 

MARGARET.  (R.)  Mr.  Padbury,  I  can  hear  no 
more.  Kindly  leave  the  house. 

PADBURY.  (Goes  up  c.)  Well,  the  aristocracy  is 
odd !  First  they  order  you  in,  then  they  order  you 
out!  (Exits  up  c.  L.) 

MARGARET.  (Sinks  into  chair  L.  of  table  R.) 
Lady  Neville  pay  his  debts ! 

(Enter  O'HARA  and  ALICE  from  garden  L.  c.)' 

CAPT.  O'HARA.  And  what  is  your  hurry,  Alice? 
Sure,  the  flowers'll  stop  growing  if  you  leave  them 
so  soon. 

ALICE.  Oh,  Captain  O'Hara,  didn't  you  see 
Lady  Neville  wanted  to  talk  to  Eric  ?  (Rises)  Oh, 
Miss  Neville — (Crossing  to  MARGARET) 

(MARGARET  still  shows  signs  of  irritation.) 

CAPT.  O'HARA.  (Aside)  I  want  to  talk  to  Eric 
myself.  (As  if  making  up  his  mind)  , 

ALICE.  (To  MARGARET.  Coming  down)  Miss 
Neville,  you  are  angry  with  me  for  staying  so  long 
in  the  garden  with — Eric 

CAPT.  O'HARA.  (Coming  down  c.)  You  see, 
she  is  very  fond  of  Eric,  and  Eric  is  very  fond  of 
her. 

MARGARET.  (R.  Smiling)  Everybody  should  be 
fond  of  Mr.  Temple's  sister,  Captain. 

CAPT.  O'HARA.  (Coming^  to  c.)  That's  what  I 
say :  "  Love  me,  love  my  sister." 

ALICE.    Oh,  Captain!    (Crosses  to  L.) 

CAPT.  O'HARA.    (R.  c.,  aside)    Gad,  that's  nearoj 


28  HEARTSEASE. 

than  I  ever  came  to  saying  it !  (Enter  c.  ERIC  and 
LADY  NEVILLE)  Here  comes  Eric.  I'll  say  it  to 
his  face :  "  Eric,  I  love  your  sister !  I  love  your 


(LADY  NEVILLE  goes  to  cabinet  L.  and  takes  out 
opera  score.  MARGARET  looks  at  LADY  NEVILLE 
with  a  pang  of  jealousy.) 

CAPT.  O'HARA.  (To  ERIC  R.  c.)  Eric,  I  have 
something  to  say  to  you.  (Aside)  "  I  love  your 
sister",  "I  love  your  sister".  (Aloud)  I've— 
something  to  say  to  you,  Eric — I — I 

ERIC.    Well,  what  is  it,  Jack? 

CAPT.  O'HARA.  Well— well,  I'll  say  it  some  other 
time.  (Going  R. — aside)  I'll  never  be  able  to  say 
it.  (Turns  up  c.  to  back) 

LADY  NEVILLE.  (Advancing  from  R. — down  L.) 
Mr.  Temple,  we  should  like  to  hear  you  play  from 
your  opera.  Here  is  the  score.  (Handing  the  Ms. 
to  ERIC) 

ERIC.  I  know  it  without  this.  This — (Touching 
score)  is  the  orchestral  score.  To-day  all  the  songs 
of  spring  are  tingling  through  my  spirit. 

ALICE.  (Goes  to  L.  of  table;  to  MARGARET  zvho 
is  at  R.  E.)  Oh,  Miss  Neville,  won't  you  sing 
"  Heartsease  "  for  us — the  song  that  Eric  dedicated 
to  you? 

ERIC.    Yes,  I  beg  of  you. 

MARGARET.  Yes,  I'll  sing  "  Heartsease  "  for  the 
last  time. 

'(Exits,  followed  by  CAPT.  O'HARA  and  ALICE. 
ERIC  looks  after  MARGARET,  surprised.) 

ERIC.    Lady  Neville,  won't  you  join  them? 

LADY  NEVILLE.  One  moment,  Mr.  Temple.  I 
want  a  word  with  you.  Be  seated.  (ERIC  and  LADY 
NEVILLE  sit  at  table  R.)  We  must  make  a  little 


HEARTSEASE.  29 

change  in  our  arrangements.  (Rings  bell  on  table) 
M.  Darville  is  not  coming.  I  have  written  him,  see? 
— (Showing  note)  that  the  score  will  be  sent  to  him 
at  once,  and  your  work  will  be  heard,  I  am  sure. 
(Enter  DOXTON  up  c.  L.)  Where's  Green? 

DOXTON.    Out,  my  lady. 

LADY  NEVILLE.    Wilkins  ? 

DOXTON.    Out,  my  lady. 

LADY  NEVILLE.    My  chairman? 

DOXTON.    They're  carrying  my  lud,  my  lady. 

LADY  NEVILLE.  (Rising)  I  want  a  messenger  at 
once.  Call  a  chairman.  A  public  porter — anyone, 
but  at  once. 

DOXTON.    Yes,  my  lady.    (Exits  L.  u.  E.) 

LADY  NEVILLE.  (Turns  to  ERIC — tenderly} 
Well,  am  I  doing  my  best  for  you  ? 

ERIC.  (Rising,  crossing  c.)  You  are  over-kind. 
I — I — don't  know  what  to  say.  If  I  gave  my  feel 
ings  play,  my  words  would  seem  extravagant. 
(LADY  NEVILLE  pleased  and  almost  tremulous,  her 
eyes  sparkling)  My  heart  is  full — I  would  speak, 
but  I  cannot — at  least,  not  now. 

LADY  NEVILLE.  (L.  c.)  Do  not  be  afraid  to 
speak. 

ERIC,  (c.)  Oh,  if  I  dared— Margaret !  Shall  I 
tell  her  of  our  love  ?  Yes,  I  will ! 

LADY  NEVILLE.  Come  nearer,  tell  me,  tell  me 
what  is  in  your  heart  ? 

ERIC.  (Joyously)  My  heart?  (Looks  towards 
music-room) 

LADY  NEVILLE.  Yes.  (Pause)  Have  you  ever 
loved  ? 

ERIC.  Loved  ?  Love  is  no  longer  a  timid  beggar 
at  my  door ;  it  is  a  welcome  guest. 

LADY  NEVILLE.    Ah !    (Goes  and  sits  L.) 

ERIC.  With  your  goodness  and  kindness,  Lady 
Neville,  I  feel  I  may  confide.  It  is  not  alone  that  I 
have  loved,  but  that  I  have  loved  almost  without 
hope  until  yesterday,  when  two  angel  hands  seemed 


30  HEARTSEASE. 

reaching  down  to  open  the  gates  of  my  Paradise. 
(LADY  NEVILLE  gives  him  her  hand,  smiling.  He 
takes  it  respectfully)  I  have  dared — you  have 
guessed  it — to  love  a  sweet  clear  being  moving  in 
a  world  beyond  me. 

{Music  and  song.) 
LADY  NEVILLE.    Ah !    I  was  right 


(MARGARET'S  voice  is  heard  singing  " Heartsease") 
ERIC.     (L.  c.)     Listen!     (Pause.    Listening) 

"  Their  melody  divine, 
Is  singing  to  my  longing. 
My  darling  shall  be  mine." 

ERIC.  So  lips  and  souls  are  saying,  my  darling 
shall  be  mine. 

LADY  NEVILLE.  (Seated  L.)  The  words  thrill 
me. 

(The  music  ceases  suddenly  off-stage.) 

ERIC.    Such  is  my  love. 
LADY  NEVILLE.    Yes !    Yes ! 

(Enter  MARGARET;  goes  up  c.     Giving  ERIC  her 
hand.) 

ERIC.  Bless  your  kind  heart,  Lady  Neville,  you 
knew  my  secret — (Bending  over  her  hand.  MAR 
GARET  sees  ERIC  and  BARBARA,  stands  transfixed  and 
shudders)  that  all  my  hope  in  life,  all  the  love  of 
my  being  is  centered — (In  low  voice)  In  Margaret. 

(MARGARET,  wide-eyed,  s pee  Mess >  sinks  back 
through  curtain.  Enter  GEOFFREY  L.  u.  E. 
LADY  NEVILLE  is  vexed  and  astounded.) t 


HEARTSEASE.  31 

ERIC.  (During  above  business)  Will  you  not 
tell  her  that  you  know  ?  (Long  pause — then  rises — 5 
light  laugh) 

LADY  NEVILLE.  (In  laughing  irony — Crossing 
from  L.  to  c.  Seeing  POM  FRET)  Ah,  Geoffrey,  you 
are  just  in  time.  Mr.  Temple  is  about  to  play  from 
his  opera.  He  has  it  here,  you  know.  (Indicating 
book) 

POMFRET.  (Bowing  stiffly)  Mr.  Temple  is  un 
usually  gracious.  (Crossing  L.  to  ERIC)  This  is 
the  famous  work  we  have  heard  of  ? 

ERIC.  (Crossing  from  L.  to  R.  in  front)  Lady 
Neville,  I  shall  be  pleased  to  play  some  passages 
from  it.  (Exits  R.  2  E.) 

POMFRET.  (L.  c.  up)  H'm!  A  pretty  talent,  eh, 
my  lady  ? 

LADY  NEVILLE.  (Pause  R.  c.  to  POMFRET)  Geof 
frey,  you  should  not  let  the  opportunity  slip  with 
Margaret.  Mr.  Temple  may  prove  a  dangerous  rival 
in  more  than  music.  Be  bold !  Be  bold ! 

POMFRET.  Is  that  a  challenge,  or  advice?  (LADY 
NEVILLE  laughs  tantalizingly  and  exits  R.  2  E.  Piano 
music  heard  off-stage.  POMFRET  looking  after  her) 
I  can  be  bold  when  I  see  my  way,  Lady  Neville. 
(Listens  to  music)  That's  cleverly  turned.  (Goes 
a  step  R.  as  if  to  go  in,  then  halts)  No,  why  should 
I  applaud  the  fellow?  Prove  a  dangerous  rival? 
Not  so  dangerous,  my  lady.  But  if  Margaret  loves 
him?  'death — I  must  not  let  an  opportunity  slip. 
(Sits  R.  table— picks  up  letter)  A  letter!  "  M. 
Darville,  Covent  Garden  Theatre  " — Lady  Neville's 
handwriting — H'm.  (Pause)  All  his  hopes  are 
built  on  this,  with  Lady  Neville  as  the  first  story 
in  his  house  of  cards.  (Rises — turns,  goes  back  to 
table  and  faces  audience)  If  that  damned  thing 
were  destroyed,  it — Dare  I?  Why  not?  (Music 
swells  forte.  He  starts  to  hurriedly  open  the  Ms. 
on  table  R.  Pause,  then  crossing  quickly  to  table  R.  ) 
Lady  Neville's  letter.  (Sees it)  Ah!  To  Darville. 


Q2  HEARTSEASE. 

'(Laughs)  It's  a  hundred  to  one  hazard.  (Writes 
on  LADY  NEVILLE'S  letter.  Crossing  out  address) 
"  Major  Twombly,  White  Horse  Cellar,  Windsor 
coach-room."  (Sticking  it  under  tapes  of  book) 
"  To  be  called  for."  I  can  send  for  it  there — and 
see  if  it  is  so  wonderful.  Any  rate,  he  will  not 

have 

DOXTON.  (At  sound  of  DOXTON'S  voice  POMFRET 
recovers  himself)  A  chairman  to  take  Lady 
Neville's  letter  is  below,  Sir  Geoffrey. 

(Enter  CHAIRMAN  L.  u.  E.    Crosses  to  c.  then  sees 
POMFRET.) 

POMFRET.    Where  are  you  going? 

DOXTON.  To  Lady  Neville,  for  the  chairman's 
fee. 

POMFRET.  No.  Can't  trouble  Lady  Neville. 
(Throwing  coin) 

DOXTON.  Thank  ye,  sur.  (Exits  with  book  and 
letter  up  c.  followed  by  chairman) 

POMFRET.  (Rising)  Now  we  may  hear  his 
music.  (Laughing — stop  music)  And  praise  it, 
(Going  R.  Crossing  over  to  R.  arch)  and  then  for 
the  White  Horse  cellar ! 

(Enter  MARGARET  R.  c.  down  c.) 

POMFRET.  (R.  2  E.)  Mr.  Temple  is  playing  from 
his  opera. 

MARGARET.  (R.  at  table)  It  does  not  interest 
me  as  you  seem  to  imagine. 

POMFRET.    Will  you  not  join  us  ? 

MARGARET.  Thank  you,  no.  (Sits  L.  of  table. 
POMFRET  looks  surprised  and  exits  R.  In  subdued 
tone  L.  of  table  R.)  Father  was  right — unworthy — 
base. 

(Enter  ERIC,  radiant,  R»  2  E.) 


HEARTSEASE.  33 

ERIC.  (Takes  her  hand  across  R.  of  table  R.) 
You  should  have  been  there,  Margaret.  It  was  the 
first  time  in  years  I  played  a  note  of  the  opera.  And 
it  sounded  sweet,  as  though  your  soul  was  playing 
through  my  ringers.  Margaret !  Margaret ! 

MARGARET.     (Rising,  withdrawing  hand)     Stop! 

ERIC.    (R.  c.)    Margaret! 

MARGARET.    Do  not  dare  to  call  me  Margaret. 
(Crosses  c.  up) 
.    ERIC.    (R.)    Why?    In  the  name  of  our  love? 

MARGARET,    (c.)    Love?    You  profane  it ! 

ERIC.    Margaret,  what  does  this  mean?    (R.) 

MARGARET.    I  will  tell  you — once  for  all. 

ERIC.    For  pity's  sake ! 

MARGARET,  (c.)  I  cannot.  It  is  horrible.  You 
are  false,  false  not  only  to  me,  but  to  those — (Bit 
terly)  who  would  help  you  with  their  patronage. 

ERIC.    (R.  c.  stupefied)    Patronage! 

MARGARET,  (c.)  Aye,  patronage.  You  are  false 
to  everything. 

ERIC.    Margaret,  you  must  tell  me. 

MARGARET.     (Going  L.)    I  will  tell  you  nothing. 

ERIC.  God  knows  why  you  have  done  this.  I 
have  lived  only  to  worship  you — but,  Margaret,  dear, 
my  love  will  clear  all  in  the  end. 

MARGARET.    It  is  the  end 

(Enter  LORD  NEVILLE.)'  r 

ERIC.    Not  that,  Margaret. 
LORD  NEVILLE.     (Advancing  c.  paper  in  hand—. 
sternly)    Mr.  Temple! 
ERIC.    (R.  c.)    Lord  Neville. 
LORD  NEVILLE.    Read  that,  sir. 

(ERIC  looks  at  paper.) 

ERIC.    (R.  c.)    A  vile  slander. 

LORD  NEVILLE,    (c.)    Ha!    We'll  see!    You  did 


34  HEARTSEASE. 

dedicate  a  song  to  my  daughter — without  my  per 
mission. 

ERIC.  (R.  c.)  Your  permission?  I  should  have 
perhaps  asked  you,  but 

LORD  NEVILLE.    It  was  a  gross  impertinence. 

ERIC.     (Angrily)     My  lord! 

LORD  NEVILLE.    Now,  as  to  the  rest 

ERIC.     (R.)     The  rest  is  infamous. 

LORD  NEVILLE.  Infamous.  That  is  the  word — • 
you  intrigue  with  Lady  Neville,  play  upon  her  vanity, 
to  have  me  back  up  some  stuff  you  call  an  opera,  and 
then,  by  gad,  I  was  fool  enough  to  do  it. 

ERIC.    Stop ! 

LORD  NEVILLE,     (c.)     Stop? 

ERIC.  Yes  !  Viscount  or  varlet,  I'll  hear  no  more. 
No  man  could. 

LORD  NEVILLE.  Does  a  man  play  and  fawn  upon 
a  woman's  vanity  till  she  pays  his  debts  ? 

(Enter  ALICE,  O'HARA,  and  LADY  NEVILLE,  R.  i  E. 
PADBURY  and  MAJOR  c.) 

ERIC.    (Goes  R.)    It's  a  lie !    Like  the  rest — a  lie! 

ALICE.     (R.    Going  to  ERIC)    What  is  it,  dear? 

ERIC.     (R.  c.)     Insult,  nothing  but  insult. 

LORD.  NEVILLE.  (L.  c.)  Here  is  the  man — 
(Pointing  to  MAJOR)  who  told  me  of  it.  Speak,  sir. 

MAJOR.  (  Coming  down  with  PADBURY  L.  )  Well, 
here  it  is.  Mr.  Padbury  told  me  that  Lady  Neville 
was  paying  Mr.  Temple's  debts. 

ERIC.  (R.  c.  stupefied)  Padbury,  speak,  for 
God's  sake !  You  can  refute  it. 

PADBURY.  (c.)  What's  the  use  of  it  all,  Mr. 
Temple?  There  are  the  notes.  They  are  paid. 

ERIC.  Is  that  story  true?  Who  paid  them? 
(PADBURY  hesitates)  Who  paid  them? 

PADBURY.    Lady  Neville. 

ERIC.  Lady  Neville?  (Looks  at  her  as  if  un 
derstanding.  LADY  NEVILLE  looks  imploringly  a{ 


HEARTSEASE.  35 

him.    ERIC  speaks  aside  to  PADBURY  as  if  saying 
"Go!    Go!!") 

(PADBURY  exits  followed  quickly  by  O'HARA  and 
the  MAJOR.) 

LORD  NEVILLE.  (Goes  R.  Crossing  to  LADY 
NEVILLE.  MARGARET  sinks  on  sofa  L.)  Lady 
Neville,  am  I — disgraced  ? 

LADY  NEVILLE.  (R.  of  R.  table)  My  lord!  My 
lord! 

ERIC,  (c.)  One  moment,  Lord  Neville.  I  ad 
mit  this  assistance  from  Lady  Barbara.  I  was  hard 
pressed.  I  plead  with  her,  begged  her,  and  she  at 
last  consented,  on  condition  that  I  should  inform 
you  and  repay  the  debt  as  best  I  could  through 
you.  I  needed  the  money,  my  lord.  (Goes  L.) 

(LADY  NEVILLE  draws  a  long  breath  of  relief.) 

LORD  NEVILLE.  (L.  c.)  But  you  denied  it  a 
moment  ago?  (Suppressed  anger) 

ERIC.    Yes. 

LORD  NEVILLE.    Then  you  lied?     (Violently) 

ERIC.  Yes,  my  lord.  Give  me  my  opera  and  let 
me  go. 

LORD  NEVILLE.  (Rings  bell)  Doxton!  Jenkins! 
(L.  u.  E.)  Give  that  man  his  opera  and  let  him  go. 

POM  FRET.  (R.)  My  lord,  what  is  the  meaning 
of  this? 

LADY  NEVILLE.  Where  is  it? — 'twas  here — 
quarter  of  an  hour  ago.  (Business — looking  at 
table.  Goes  to  cabinet)  It  must  be  in  the  music 
room.  (Exits  R.  2  E.) 

LORD  NEVILLE.  Doxton !  Jenkins !  Get  him  his 
opera  and  show  him  to  the  door. 

POMFRET.     (Soothingly)     My  lord,  my  lord ! 

LADY  NEVILLE.  (Entering  in  doorzvay)  I  can 
not  find  it  anywhere. 


36  HEARTSEASE. 

ALICE.     (Crossing  to  ERIC)     Eric!    Eric! 

LORD  NEVILLE.  (To  POM  FRET)  Ah!  Perhaps 
he  has  taken  it  himself  to  get  money  out  of  me. 
That  trick  won't  do. 

ERIC,  (c.)  Thank  you  for  that  insult,  Lord 
Neville.  I  want  no  quibbling,  no  evasion  now. 

ALICE.  (R.  of  c.)  It  was  there  awhile  ago.  I 
saw  it. 

LORD  NEVILLE,  (Crossing  down  L.)  Am  I  to 
understand  it  is  lost,  stolen,  here  among  you  all? 

ERIC.    Lost?    Stolen?    My  God,  the  only  copy! 

LORD  NEVILLE.  (L.  u.)  Well,  if  it  has  been  lost 
here,  I  can  pay  you  for  it. 

ERIC,  (c.)  Pay  me?  Pay  me  for  it!  Can  you 
pay  me  for  my  hopes,  for  my  years  of  toil  and 
struggle  ?  Can  you  pay  me  for  these  ?  No,  it  shall 
be  found!  It  shall  be  found! 

LORD  NEVILLE.  (Scornfully — seated  L.)  Come, 
sir,  how  much  ? 

ERIC.  I  tell  you  there  is  not  enough  blood  in  your 
bitter,  bitter  heart  to  pay  me  for  it,  and — (Looking 
agonzingly  at  MARGARET,  whose  eyes  meet  his  for 
a  moment)  all  that  its  loss  means  to  me. 

LORD  NEVILLE.    How  much,  sir? 

MARGARET.  (Crossing  between  LORD  NEVILLE 
and  ERIC,  and  laying  her  hand  on  LORD  NEVILLE'S) 
Father !  Not  that ! — not  now. 

ERIC,    (c.)    I  thank  you,  Miss  Neville. 

MARGARET.  Not  for  your  sake,  sir,  but  for  my 
father's  dignity.  You  have  been  false — false  to 
trust — false  to  everything  that  man  should  hold  in 
honor. 

(LADY  NEVILLE  and  POMFRET  exeunt  R.  2  E.y 

LORD  NEVILLE.  (Rising  and  crossing  R.)  You're 
right,  Margaret.  (To  ERIC)  My  lawyer  shall  see 
you  to-morrow.  Come,  Margaret. 


HEARTSEASE.  37 

(MARGARET  crosses  to  LORD  NEVILLE  and  takes  his 
hand,  draws  herself  proudly  up,  then  passes  R. 
with  LORD  NEVILLE  but  does  not  halt,  and 
passes  off  R.  2  E.  ERIC  stands  amazed,  utterly 
overcome,  looks  wistfully  after  her,  his  hand 
wanders  over  the  back  of  the  chair  R.  Tears 
start  to  his  eyes  as  he  bows  his  head.  ALICE 
comes  tenderly  to  him,  her  hand  steals  into  his; 
he  grasps  it  spasmodically,  turns  quickly  to 
wards  the  door,  his  arm  about  his  sister,  bows 
his  head,  broken  utterly  and  in  tears,  and  goes 
slowly  as  curtain  falls.) 

CURTAIN. 


ACT  III. 

SCENE: — The  box-tier  at  Covent  Garden.  A  stair 
case  on  L.  side.  The  back  of  the  boxes  seen  L. 
Three  of  the  box-doors  practical.  A  tremend 
ous  and  prolonged  burst  of  applause  off-stage 
follows  the  end  of  the  music  as  the  curtain  rises. 

DISCOVERED :— PADBURY  and  MAJOR  coming 
down-stairs. 

PADBURY.  (At  foot  of  stairs)  Steady,  Major, 
steady !  The  King's  in  the  house. 

MAJOR.  (Drunk)  Long  live  the  King!  Long 
live  Sir  Geoffrey  Pomf ret !  Long  live  "  Hilde- 
brand."  (Crossing  to  c.) 

PADBURY.  Sir  Geoffrey  won't  like  you  in  this 
state. 

MAJOR.  (L.)  Won't  like  me?  He's  got  to  like 
me.  He's  got  to  stand  by  me — wait  and  see. 
(Exeunt  L.  3  E.  with  PADBURY) 


38  HEARTSEASE. 

(Enter  ALICE,  O'HARA  and  LADY  O'HARA  L.  i  E.) 

CAPT.  O'HARA.  Aunt,  I  didn't  know  it  was  Pom- 
fret's  opera,  or  by  the  powers,  we  wouldn't  be  here. 

(ALICE  up  stage.    Group  2  passes  up-stairs — one  re 
maining  on  balcony.) 

LADY  O'HARA.  (L.  c.)  I  thought  it  didn't  mat 
ter  where  you  were,  so  long  as  Alice  was  with  you. 

(Enter  QUIGG  at  back  L.  u.  E.  He  comes  down  to 
O'HARA,  touching  his  hat.  LADY  O'HARA  joins 
ALICE  up  c.) 

CAPT.  O'HARA.     To  be  sure,  but — what  is  it, 

Quigg? 

QUIGG.  If  you  please,  Captain,  Mr.  Eric  Temple 
is  arrived  from  Paris  at  your  lodgings,  sir. 

CAPT.  O'HARA.    At  my  lodgings  ? 

QUIGG.    (L.  c.)    He  said  his  letter  explained  all. 

CAPT.  O'HARA.  (R.  c.)  Dear,  dear,  now,  I  got  no 
letter.  (Aside)  And  he's  there,  and  Alice  is  here, 
and  I'm  here,  too.  (Aloud — sympathetically)  And 
how  does  she  look,  Quigg? 

QUIGG.    Poorly,  sir — disappointed-like. 

CAPT.  O'HARA.    Of  course,  not  finding  his  sister. 

QUIGG.    Captain,  shall  I  tell  Mr.  Temple  to  come  ? 

CAPT.  O'HARA.  (L.  c.)  No— yes.  (To  QUIGG) 
Yes,  tell  him  to  come — to  Lady  O'Hara's  box. 
(Crosses  to  R.) 

QUIGG.  (c.  Saluting,  turning  away  and  then 
turning)  Beg  pardon,  sir,  a  little  supper,  Captain, 
after  the  opera  ? 

CAPT.  O'HARA.  Yes,  yes,  Quigg,  for  two,  and  the 
best  to  be  had. 

QUIGG.    Very  good,  Captain.    (Exits  L.  u.  E.) 

CAPT.  O'HARA.    Aunt— (LADY  O'HARA  goes  to 


HEARTSEASE.  39 

him)  did  you  hear  that?  Eric  Temple's  in  town, 
and  coming  here  ?  Don't  tell  Alice. 

LADY  O'HARA.    And  why  not? 

CAPT.  O'HARA.  You  know,  Aunt,  you'd  give  her 
a  shock.  Leave  it  to  me.  I'll  break  it  gently  to  her. 

LADY  O'HARA.  I'd  like  to  see  you  break  anything 
gently,  Jack,  but  come.  (CAPTAIN  and  LADY 
O'HARA  go  up-stage) 

(Enter  PADBURY  and  MAJOR  L.  u.  E.,  crossing  to  R.) 
PADBURY.    Steady  Major !    Here  come  the  nobs. 

(Slight  applause.  Door  of  box  No.  2  opens,  and 
enter  LORD  NEVILLE,  followed  by  POMFRET  who 
is  uneasy,  and  DARVILLE,  who  is  enthusiastic. 
Movement  of  interest  among  the  ladies  and 
gentlemen  as  LORD  NEVILLE  comes  forward. 
O'HARA  halts  an  instant  as  POMFRET  enters, 
then  bows  to  couples  and  exits  L.  u.  E.  with 
ALICE  and  LADY  O'HARA.) 

LORD  NEVILLE.  (Turning  to  POMFRET)  By  Gad, 
you've  hit  'em,  Geoffrey!  Didn't  you  hear  'em? 
Don't  be  nervous  now,  man.  How  Barbara  clapped ! 
Split  her  gloves,  I  do  believe. 

POMFRET.  (R.  c.  uneasily — trying  to  smile)  I 
thank  you,  I  thank  you,  my  lord.  (LORD  NEVILLE 
and  DARVILLE  go  up,  attracted  by  a  lady  and  gentle 
man  whose  bow  he  returns.  LORD  NEVILLE  and 
DARVILLE  chat,  down  R.)  Margaret  did  not  con 
gratulate  me,  she  never  moved.  (  Goes  L.  ) 

MAJOR.  (Seeing  POMFRET)  Hi,  Paddlebury, 
there's  Sir  Geoffrey !  Damme,  I'll  congratulate  him. 
(L.  c. — crosses  to  POMFRET,  and  slapping  him  on  the 
back)  Pomfret  forever!  (POMFRET  turns  and 
scowls)  What  did  I  tell  you,  Sir  Geoffrey!  We 
<now  where  this  opera  of  "  Hildebrand  "  came  from ! 
Don't  we?  Ha!  Ha! 


#>  HEARTSEASE. 

POMFRET.  (Crossing  to  L.)  How  dare  you! 
LYou  drunken  beast ! 

(LORD  NEVILLE  and  DARVILLE  cross  to  R.  chatting.) 

MAJOR,     (c.)     Drunk?    I  wasn't  always  drunk, 
was  I  ?    You're  a  pretty  fellow  to  call  me  a  beast. 
POMFRET.     Leave  me,  or  I'll  run  you  through. 

(Group  2  comes  down  stairs  laughing  and  chatting. 
Group  i  moves  towards  stairs  meeting  group  2 
—chat.) 

MAJOR.  Try  your  famous  coup  de  jarnac  on  me? 
No  more  use  for  me,  eh  ?  ( Goes  R.  in  front)  Come, 
Padbury ! 

(LORD  NEVILLE  goes  down.) 

PADBURY.    Ah,  my  lord ! 

LORD  NEVILLE,     (c.)     The  linen-draper! 

PADBURY.  (R.  c.)  You're  en  joy  in'  it,  my  lord, 
just  as  if  it  was  a  saddle  of  south-down  mutton  with 
turnip  trimmin's. 

LORD  NEVILLE.  (LJ — angrily)  Ah! — City 
gourmandizer ! 

PADBURY.  (c.)  We  ain't  met,  my  lord,  since 
that  little  trouble  about  a  year  ago  about  Mr. 
Temple's  debts,  but  I  say  shake  hands.  (Offering 
his  hand) 

(Group  pass  up-stage  gradually.     Group   i   exit 
L.  i  E.) 

LORD  NEVILLE.  (Looking  at  PADBURY'S  hand 
through  glass)  Go  to  the  devil !  (  Turns  up-stage — 
indignant) 

MAJOR.  (Crosses  R.  to  stairway)  Come,  Pad- 
bury,  we're  not  wanted  here.  (Halting  at  stairway) 

«--'.-^  *...-.u-l !.J--..-J-A-<;Mf..J,J,inafa  l^—H,  ^a.     I.  Ml-.jiih  .        .». .,,     •'•«'      '  -    -*» 


HEARTSEASE.  $i] 

PADBURY.  (c.  L.  waving  deprecatingly  to  MAJOR, 
crosses  L.  meeting  POM  FRET)  Sir  Geoffrey  to  show 
you  I've  no  hard  feelings  on  account  of  his  lordship's 
eyeglass,  I'll  take  three  pit  tickets  for  your  Third 
Night  benefit  and  send  my  clerks  to  clap. 

POMFRET.    (c.)    Sir! 

PADBURY.  (c.  R.  ingratiatingly)  Oh,  you  won't 
have  to  send  no  begging  letters  to  me,  like  most 
authors.  (Taking  out  purse)  I'll  pay  you  for  'em, 
ready  money.  (POMFRET  dashes  purse  out  of  PAD- 
BURY'S  hand  and  turns  haughtily  away)  Cash 
down ! 

MAJOR.  (At  stairs)  Now  are  you  coming, 
Padbury?  (Goes  up  stairway) 

PADBURY.  (Picking  up  purse)  I'm  coming, 
Major.  (Joins  MAJOR — both  turn  and  shake  their 
fists  at  POMFRET,  whose  back  is  turned  and  go  out 
upstairs.  Enter  LADY  NEVILLE  in  gay  mood,  fol 
lowed  by  MARGARET,  sad  and  pensive) 

(Group  I  enters  L.  u.  E.  and  dress  stage  at  back, 
talking.) 

LADY  NEVILLE.  (L.  c.)  I  vow,  Geoffrey,  I  envy 
Lord  Neville. 

(DARVILLE  and  LORD  NEVILLE  coming  down  JR.) 

POMFRET.    '(c.)    Why,  Lady  Neville? 

LADY  NEVILLE.  (L/C.)  Because  he  is  the  foster- 
father  of  "  Hildebrand." 

POMFRET.    (c.)    I  am  much  indebted  to  his  lord 
ship's  urging. 

LORD  NEVILLE.  (R.  c.)  Why,  six  months  ago, 
Geoffrey  said  he  thought  he  would  try  his  opera 
with  Darville,  and  I  said,  Try  it. 

LADY  NEVILLE.  (Crosses  R.  to  LORD  NEVILLE) 
LYou're  modest,  my  lord. 

LORD  NEVILLE.    (R.  c.)    'Gad,  you  made  such  a 


42  HEARTSEASE. 

failure  as  a  patroness  of  young  genius,  I  thought  I'd 
discover  a  genius  for  myself. 

(LADY  NEVILLE  turns  pointedly  away  and  back  to 
R. — A  couple,  lady  and  gentleman,  bow  to  her 
— they  gossip.) 

POM  FRET.  (L.  c.  going  to  MARGARET)  Margaret, 
the  verdict  that  I  wait  upon  is  yours. 

MARGARET.  (L.)  Mine  is  of  little  yalue,  Geof 
frey 

'(Music  siops.y 

POMFRET.  '(L.  c.)  But  it  is  to  win  your  warm 
fcsteem,  to  bring  honor  to  you,  that  I  have  done  aU 
this.  I  would  have  the  whole  world  at  the  feet  of 
the  lady  who  will  be  my  wife. 

MARGARET.  (Wincing  a  little)  The  opera  L* 
most  favorably  received.  I  am  glad,  of  course, 
(Sits  L.  up-stag e.  Gives  him  her  hand,  which  hi 
kisses.  Talks  to  her) 

LORD  NEVILLE,  you're  coming,  Geoffrey?  (Up 
L.  c.) 

POMFRET.  Yes !  '(Halting)  No,  I  have  some 
thing  in  the  house  to  look  to.  I  shall  join  you  on 
the  stage. 

LORD  NEVILLE.  Don't  fail.  I  must  be  returned 
safely  to  her  ladyship.  (Exeunt  R.  i  E.  whh  DAR- 
VILLE) 

LADY  NEVILLE.    You  will  come  back  safe,  dearie. 

SIR  GEOFFREY.  I  must  see  Major  Twombly  at 
once.  I  cannot  afford  to  quarrel  with  him. 

LADY  NEVILLE.  (Crossing  to  c.)  Geoffrey,  be 
patient  with  her.  Your  triumph  to-night  will  work 
wonders. 

SIR  GEOFFREY.  A  little  warmth  now  would  not 
be  out  of  place,  (Exits  upstairs.  Exit  ALICE  and 
CAPTAIN  O'HARA  L.) 


HEARTSEASE.  43 

I 

LADY  NEVILLE,  (c.)  Margaret,  you  are  behav 
ing  shamefully  to  Geoffrey.  He  complains  of  it. 

MARGARET.  (Standing  at  door.  Exit  2  supers 
and  LADY  O'HARA,  R.  u.  E.)  He  has  nothing  to 
complain  of. 

LADY  NEVILLE.  A  little  warmth,  he  said  just  now, 
would  not  be  out  of  place,  and  when  a  young  woman 
of  fashion  is  pledged  to  a  dashing  young  gentleman, 
she  might  well 

MARGARET.  (L.)  Have  I  promised  warmth, 
enthusiasm?  Urged,  coerced  by  everybody,  I  con 
sented  to  marry  him — I  told  Sir  Geoffrey  I  did  not 
love  him.  I  let  my  father  pledge  me,  because 

LADY  NEVILLE.  (Lightly)  Because  Sir  Geoffrey 
is  a  man  any  woman  might  admire.  (Stopping  c.) 

MARGARET.  (Significantly)  Because  there  was 
so  much  baseness  in  the  world. 

LADY  NEVILLE,  (c.)  My  love,  the  world  won't 
ask  your  excuses  for  marrying  a  rich  young  baronet 
— at  least,  you  need  not  give  them.  (Facing  MAR 
GARET) 

MARGARET.  (Sternly — with  growing  warmth,  ris 
ing  and  going  c.  Facing  LADY  NEVILLE)  Lady 
Neville,  it  is  time  you  knew  that  there  are  things 
you  should  not  meddle  with. 

LADY  NEVILLE,    (c.  R.)    And  what,  pray  ? 

MARGARET.    A  woman's  love. 

LADY  NEVILLE.  (R.  c.)  Hoity-toity,  Miss 
Neville,  why — ?  (A  little  taken  aback) 

MARGARET,  (c.)  You  know,  I  see  it  in  your 
face.  I  have  been  silent.  I  suffered  all,  lost  all, 
because  the  past  was  irrevocable,  because  to  punish 
you  would  be  perhaps  to  shame  my  father. 

LADY  NEVILLE,    (c.  R.)    Lost  all  ?  You  mean — 

MARGARET.  (L.  c.  faces  audience)  I  loved  Eric 
Temple ! 

LADY  NEVILLE,  (c.  R.)  You  loved  him?  I  did 
not  know  that. 

MARGARET.    Oh !    (Incredulously) 


44  HEARTSEASE. 

LADY  NEVILLE.  (Going  to  her)  I  swear  I  did 
not. 

MARGARET.  No,  your  simpering  vanity  lured  him 
to  your  feet;  made  him  base  enough  to  beg,  if  he 
was  not  already  base  enough.  You  gave  him  money 
— and  then  you  saw  him  crushed,  spurned,  taking 
his  shame  upon  him  without  one  word  of  pity. 

LADY  NEVILLE.  You  did  not  pity  him  yourself — 
I  did  not  dare. 

MARGARET.  If  you  loved  him !  No,  no,  you  could 
not — have  loved  him,  but  I  had  seen  him  at  your 
feet,  had  heard  him.  Oh,  it  was  fresh  from  the 
sight  of  that,  that  I  had  no  pity  for  him — it  was 
that  filled  me  with  hate  and  contempt  for  you. 
(Turning  away) 

LADY  NEVILLE.  (Turning  and,  in  intense  sup 
pressed  tone,  goes  R.  Comes  back  to  R.  c.  tlien 
speaks)  The  words  of  love  you  heard  him  speak 
were  all  for  you. 

MARGARET.  For  me?  (Bitterly)  Ah,  while 
begging  you  to  pay  his  debts. 

(Two  steps  up  L.  then  turning  slowly  as  LADY 
NEVILLE  speaks.) 

LADY  NEVILLE.  (L.  c.)  He  never  begged!  He 
never  knew.  I  did  it  unasked.  It  was  my  own 
impulse — weak  perhaps,  vanity  perhaps — to  have 
him  owe  much  to  me.  Once  known,  I  could  not  face 
it  to  your  father. 

MARGARET.  (Confronting  BARBARA)  You  let 
Eric  Temple  ruin  his  life  to  save  your  name? 

LADY  NEVILLE.  (Hanging  head)  Wounded 
pride,  anger,  fear  held  me,  and  he  was  the 
stronger ;  he  was  a  man. 

MARGARET.  It  shall  not  be,  it  must  be  undone, 
you  must  undo  it. 

LADY  NEVILLE.    What  must  I  do  ? 

MARGARET.    Tell  my  father — (LADY  NEVILLE  R.) 


HEARTSEASE.  45 

what  fable  you  like,  but  it  must  clear  Eric  Temple's 
name. 

LADY  NEVILLE.  (R.  coming  c.)  Is  there  no 
other  way  ? 

MARGARET.  (L.  c.)  Yes,  I  can  tell  him.  (Move 
ment  to  L.) 

LADY  NEVILLE,  (c.)  No,  no.  If  you  love  him 
still,  help  me. 

MARGARET.  Love  him  still  ?  Love  him  still  ?  All 
night  the  memory  of  his  love  for  me,  my  love  for 
him,  has  been  near  me.  The  house,  the  applause,  the 
music,  bring  it  back  and  keep  it  by  me.  (Goes  L.) 
Its  memory  is  mine  forever  now.  (Sinks  into  chair 

L.) 

LADY  NEVILLE.  I'll  do  it — I'll  tell  your  father  the 
truth.  (LADY  NEVILLE  crosses  to  MARGARET,  strokes 
her  hair,  then  passes  back  of  her  and  speaks  line. 
Exits  into  box) 

MARGARET.  My  love!  My  love!  To  be  near 
you,  to  comfort  you — Oh,  heaven !  (Rises)  I  have 
not  the  right.  I  am  pledged  to  his  enemy!  (Music. 
Exits  L.  3  E.) 

(Enter  CAPTAIN  O'HARA  by  stairs.  He  goes  'down 
ruminating.  ALICE  and  LADY  O'HARA  follow 
him,  but  remain  on  balcony.  CAPTAIN  O'HARA 
signals  to  LADY  O'HARA  to  send  ALICE  down. 
LADY  O'HARA  does  so.  ALICE  descends.  LADY 
O'HARA  laughs,  shakes  her  finger  at  CAPTAIN 
O'HARA  and  exits  above.) 

ALICE.    Now,  what  do  you  want  to  say,  Captain  ? 

CAPT.  O'HARA.  I  have  something  to  say  to  you, 
Miss  Temple.  (Aside)  Eric  not  here  yet,  how  can 
I  tell  her!  (Aloud)  Don't  leave  me. 

ALICE.    I'm  not  going  to  leave  you,  Captain. 

CAPT,  O'HARA.  (c.)  That's  right.  You'd  have 
my  death  at  your  door  if  you  did. 

ALICE.    (L.)    Don't  talk  of  dying,  Jack. 


46  HEARTSEASE. 

CAPT.  O'HARA.  (R.  c.)  Well,  I  may,  for  it  has 
come  at  last.  (Laying  his  hand  on  his  heart  and 
hanging  his  head) 

ALICE.  (L.  c.)  What  has  come?  Don't  terrify 
me.  Have  you  an  affection  of  the  heart  ? 

CAPT.  O'HARA.  I  have,  this  long  time,  but  that's 
nothing.  I'm  used  to  that. 

ALICE.    (L.  c.)    Oh,  dear,  what  can  it  be? 

CAPT.  O'HARA.  (c.)  I'll  have  twelve  duels  to 
morrow  if  things  go  on  as  they  are. 

ALICE.    What  has  happened? 

CAPT.  O'HARA.  I'm  told  the  King  has  spoken 
about  it  to  the  Prince  of  Wales.  I'll  be  cashiered 
from  the  army. 

ALICE.    What  is  it?    Oh,  dear! 

CAPT.  O'HARA.  (c.)  It  will  be  in  all  the  papers 
to-morrow.  You,  and  only  you  can  save  me. 

ALICE.    I  ? 

CAPT.  O'HARA.  Sure,  that's  why  I  mention  the 
trifle  to  you,  Alice  darling. 

ALICE.  I'll  do  it,  Jack,  and  I'll  save  you  at  any 
cost. 

CAPT.  O'HARA.  (c.)  Then  you'll  have  to  marry 
me. 

ALICE.  (L.  c.)  Jack!  (Turning  shyly  away) 
How  will  that  save  you? 

CAPT.  O'HARA.  Sure  we've  been  seen  together, 
my  jewel.  They're  all  talking  about  it.  Oh,  save 
my  good  name,  save  my  good  name!  (Kneeling 
to  ALICE) 

ALICE.  I'll  do  it — even  that — to  save  your  good 
name. 

CAPT.  O'HARA.  Oh—  (Kisses  her)  I'm  saved! 
I'm  saved!  (Kisses  her)  I'm  saved  again!  And 
now,  Alice,  you'll  tell  Eric.  (Go  to  L.) 

ALICE.    Yes,  gladly.     (Crosses  up  L.  two  steps) 

CAPT.  O'HARA.  Bedad,  I  haven't  told  her  about 
Eric  myself.  (Goes*..) 


HEARTSEASE,  47 

(Enter  MARGARET  L.  u.  E.) 

ALICE.    Jack,  Miss  Neville.    Shall  I  speak  to  her  ? 

CAPT.  O'HARA.  (R.)  Whatever  the  softest, 
dearest  little  heart  in  the  world  tells  you  to  do. 

ALICE.    Miss  Neville. 

MARGARET.  (At  door  turning  quickly)  Alice! 
Alice !  You  speak  to  me !  (Embracing  her)  Alice ! 
Your  brother,  Eric — has  he  found  any  trace  of  the 
opera  that  was  lost? 

ALICE,  (c.)  No,  no  trace.  After  his  long  sick 
ness,  he  went  abroad. 

MARGARET.    (L.  c. — pause)    And  you,  dear? 

ALICE.  Lady  O'Hara  was  good  to  me  and  hai 
cared  for  me,  and  Captain  O'Hara  was  a  brother  to* 
Eric,  and  prevailed  on  him  to  go  to  the  Continent. 

MARGARET.  (L.  c.)  Captain  O'Hara — (Giving 
him  her  hand)  You  were  good  to  Mr.  Temple. 

CAPT.  O'HARA.  (c.)  Miss  Neville!  My  friend 
is  my  friend  while  there's  one  drop  of  blood  in  my 
heart. 

ALICE.  (As  if  about  to  embrace  him — L.  c.)  Oh, 
Jack!  (Goes  up  R.) 

CAPT.  O'HARA.  (He  goes  to  MARGARET  and,  tak 
ing  her  aside)  Miss  Neville!  You  can  do  me  a 
mighty  big  service. 

MARGARET.    Gladly. 

CAPT.  O'HARA.  I've  something  that  I  want  to 
break  gently  to  Alice,  and  I'm  that  heavy-handed,  I 
break  an  egg  as  if  it  were  a  skull.  I  want  you  to  tell 
her  that  her  brother  is  no  longer  abroad,  and  that  he 
is  coming  here  to-night. 

MARGARET.  (Clutching  at  him{  and  staring  at  him 
wide-eyed  and  tremulous)  Eric  Temple  coming 
here  to-night  ?  Alice ! 

ALICE.    Miss  Neville,  what  is  it? 

MARGARET.  Your  brother!  He  is  coming  here 
to-night. 

ALICE.    Eric!    Eric!    To-night! 


48  HEARTSEASE. 

MARGARET.    Yes,  yes. 

ALICE.    Captain,  is  this  true? 

CAPT.  O'HARA.     (Stammering)    Yes,  it's  true. 

ALICE.  Oh,  why  did  you  not  tell  me  before !  I'll 
never  speak  to  you  again.  But  come,  Miss  Neville, 
I  must  inform  Lady  O'Hara  at  once. 

MARGARET.    Alice!    (Exeunt  L.  i  E.) 

CAPT.  O'HARA.  (Looking  after  them)  I  could 
have  broken  it  as  gently  myself.  (Exits  L.  i  E.) 

(MAJOR  and  PADBURY  come  down  the  stairs.) 

PADBURY.  (c.  on  stairs,  near  bottom)  You  said 
he  sent  a  package  to  the  White  Horse  cellar. 

MAJOR.  (R.  c.  just  behind  him)  Never  you  mind 
what  I  said.  Sir  Geoffrey  had  to  apologize ;  he  had 
to.  (Comes  down  on  stage  and  going  L.  of  PAD- 
BURY)  And  now,  hark  you,  Paddlbury — not  a  word 
of  what  I  told  ye  a  moment  ago,  not  a  word  of  what 
I've  ever  told  you.  Understand!  Don't  permit 
yourself  to  remember  that  you  ever  heard  a  word 
about  anything.  In  fact  you  never  did  hear  any 
thing  about 

PADBURY.    (L.  c.)    But  I  did. 

MAJOR.    Then  I  accuse  you  of  a  falsehood,  sir. 

PADBURY.    You  do,  and  I  ain't  told  no  lie. 

MAJOR.  Then  I've  insulted  you,  and  I  expect  a 
challenge. 

PADBURY.  There  can  be  no  offense  between 
gentlemen  friends. 

MAJOR.    You're  bound  to  call  me  out. 

PADBURY.  No,  sir,  you  are  my  guest.  I  cannot 
challenge  you. 

MAJOR.  You  are  my  guest,  I  asked  you  to  my 
friend's  opera. 

PADBURY.    I  paid  for  the  seats. 

MAJOR.  (R.  c.)  That  is  a  trifle  no  gentlemen 
should  mention.  (Both  move  up-stage) 


HEARTSEASE.  '49 

PADBURY.  Then  I'll  not  mention  it.  A  pinch  of 
snuff?  (Back  to  audience — offers  box) 

MAJOR.  Bah !  (  Tips  snuff  box  and  it  spills  over 
PADBURY'S  face  and  ruffled  shirt.  PADBURY  rubs 
it — MAJOR  exits  L.  u.  E.) 

PADBURY.  Oh,  lord !  here's  a  mess — right  in  the 
opera  too — and  the  King  in  the  house. 

(Enter  LORD  NEVILLE  L.  u.  E.    PADBURY  collides 
with  him  as  he  enters.) 

LORD  NEVILLE.  Deuce  take  the  man !  What  ails 
him? 

PADBURY.  I  beg  your  pardon,  my  lord,  but  111 
be  revenged,  I  will.  When  I've  washed  my  face,  I'll 
have  a  White  Horse  cellar  to  tell  you  of.  Oh !  Oh ! 
(Exits  L.  i  E.) 

(Soprano  solo  heard.) 

LORD  NEVILLE.  (Going  to  box)  Margaret  not 
here!  (Turning.  Enter  MARGARET  L.  i  E.)  Ah, 
Margaret,  I  was  looking  for  you. 

MARGARET.  I  have  just  left  Miss  Temple, 
father. 

LORD  NEVILLE.  Temple,  Margaret !  You  should 
not  notice  these  people. 

MARGARET.  Father,  we  have  wronged  these 
people. 

LORD  NEVILLE.  A  disgraced,  discredited  man — 
a  vile  intriguer,  his  sister ! 

MARGARET,  (c.)  Disgraced  because  he  was 
brave,  discredited  because  of  another's  cowardice. 

LORD  NEVILLE.  (L.  c.)  You  are  raving,  Mar 
garet.  The  fellow's  out  of  our  world.  We've  done 
for  him  for  good  and  all. 

MARGARET.  (L.)  No,  he  was  never  in  our  world 
as  he  is  to-night. 


50  HEARTSEASE. 

LORD  NEVILLE,  (c.  to  her)  This  sister  has  been 
telling  some  pitiable  tale. 

MARGARET.  (Turning  slowly  to  him)  It  is  a 
pitiable  tale.  It  doesn't  come  from  Eric  Temple's 
sister,  but  from  your  lordship's  wife. 

LORD  NEVILLE.  Lady  Neville?  (Points  to  box 
2) 

MARGARET.  She  will  tell  you.  I — I  cannot. 
(Crosses  to  R.) 

LORD  NEVILLE.  Riddles,  Margaret.  I  want  no 
riddles.  What  have  the  fellow's  rights  or  wrongs 
to  do  with  you? 

MARGARET.  (Turns  to  him)  Father,  I  love  Eric 
Temple. 

LORD  NEVILLE.  (L.  over  to  her)  You  dare  to 
say  that  to  me? 

MARGARET.    (R.)    He  was  a  man  of  honor. 

LORD  NEVILLE.  (Goes  to  box)  You  are  promised 
to  Sir  Geoffrey.  Silence,  I  will  not  hear  another 
word.  (Aside  c.)  Lady  Neville  will  tell  me — hum 
— what?  I  wonder?  Come,  Margaret.  (Exit  L. 
MARGARET  sinks  into  chair  L.  Bows  her  head  and 
weeps.  LORD  NEVILLE  comtemplates  her  for  a 
moment) 

(MARGARET  going  L.  is  still  pensive.  Her  despair 
has  benumbed  her.  Music  changed  to  ERIC 
motif.  MARGARET  seems  to  listen  to  it — passes 
wide-eyed,  trance-like,  toward  the  box  and  is 
about  to  enter.) 

ERIC.  (Off-stage  L.  u.  E.)  Lady  O'Hara's  box, 
I  believe  ? 

'(MARGARET  starts  and  turns.   ERIC  entering.   Cross 
ing  to  foot  of  stairs  L.) 

MARGARET.    (R.)    Mr.  Temple! 
ERIC.    (c.  halting)    Miss  Neville. 


HEARTSEASE.  51 

MARGARET.  (L.)  I  knew  your  voice.  I  was  ex 
pecting  you. 

ERIC.    Expecting  me? 

MARGARET.  (L.)  I  heard  you  might  be  here. 
LYour  sister  Alice  told  me. 

ERIC.    They  sent  word  to  me. 

MARGARET.  (L.  c.)  One  moment.  I  would  ask, 
have  you  trace  or  tidings  of  your  work  ? 

ERIC.  (At  R.  c.)  Ah!  (His  head  drops  as  he 
crosses  c.)  No!  It  is  gone — gone  forever. 

MARGARET.  (L.  c.)  We  tried  hard,  indeed  we 
did,  to  recover  it,  but 

ERIC.  Miss  Neville,  do  not  wring  my  heart  speak 
ing  of  it.  Loss?  It  went,  and  left  me  among  the 
shattered  wrecks  of  life,  drifting — (Lowering  his 
voice)  on  a  sea  of  chaos.  I  talk  in  foolish  rhapsody, 
but 

MARGARET,    (c.  L.)    If  I  could  help  you 

(Music.) 

ERIC.  (Reproachfully)  Why  did  you  not  help 
me  ?  As  long  as  I  lay  ill,  it  was  not  my  lost  opera  I 
raved  about.  With  the  first  consciousness  it  was 
your  face  hovering  about  my  pillow — your  eyes  still 
loving — your  lips  still  kissing — ah 

MARGARET.  (Going  up  back  c.)  Oh,  do  not  re 
call  that. 

ERIC.  (Laughing  bitterly)  No,  no!  It  was  a 
false  face,  a  mask.  I  laughed  at  the  reality  that 
was  showing  in  your  face,  day  after  day,  night  after 
night,  cut  in  hard  cold  marble. 

MARGARET.  (Down  R.)  You  will  recall  it. 
(Weeps) 

ERIC.  And  as  it  hardened  and  hardened,  I  saw  it 
mocking  me. 

MARGARET.    Mocking? 

ERIC.     (Pause)     Now  look,  it  is  wet  with  tears. 

MARGARET.    (Up  to  him)    But  I  did  not  know-^ 


52  HEARTSEASE. 

ERIC,  (c.)  Why  were  my  letters  sent  back  un 
opened  ?  I  could  not  dog  your  steps,  I  would  not  do 
that. 

MARGARET.     (R.)    But  Lady  Neville  has  told  me. 

ERIC.  Ah,  no  one  could  rescue  me  from  myself 
but  you.  It  was  the  loss  of  you  that  brought  despair. 
I  have  sat  and  sat,  my  mind  grasping  after  my 
melodies  as  if  I  would  drag  them  from  oblivion  and 
win  you  in  spite  of  all.  I  have  heard  them  sobbing 
or  sighing  far  off,  as — (Looking  about  him  c.)  I 
seem  to  hear  them  now — (Turns  away) 

MARGARET.  I  want  to  tell  you.  You  must  hear 
it.  I  have  told  Alice.  (He  turns  at  her  wide-eyed  as 
if  listening)  It  was  because  I  thought  you  were 
more  to  Lady  Neville  than  to  me — that  I — turned 
from  you!  (ERIC  gasps  as  he  understands)  I  saw 
you — close  to  her — her  hand  in  yours — her  eyes 
burning  into  your  eyes 

ERIC.  (Advancing  c.  to  her.  L.  bursting  into  a 
hysterical  laugh)  Really!  Good  God!  Was  it 
that  ? — that  moment  in  which  the  first  confession  of 
my  love  was  breathed  to  any  mortal  but  yourself  and 
Alice!  (Looks  wildly  at  her* — turning)  My  poor 
music  is  sobbing  in  my  ears — for  the  pity  of  it — the 
cruel  pity  of  it.  (Suddenly)  And  it  all  came  from 
that? 

MARGARET.     (Bowing  her  head)    Yes. 

ERIC.  Then  as  that  was  an  hallucination — a 
fantasy — (Stops  suddenly  c.)  Tell  me,  what  opera 
is  this? 

MARGARET.     (Receding  L.)    "  Hildebrand." 

ERIC,    (c.)    "Hildebrand?"    Its  story? 

MARGARET.  An  old  Norseman — a  Viking — his 
daughter,  Fredegonde 

ERIC.  Ah!  (Pause.  Sigh.  As  if  trying  to  re 
call  the  conversation)  Yes!  Hallucination — ghosts 
of  words  and  ghosts  of  melodies.  My  God !  I  can 
not  think.  Whose  opera  is  this? 

MARGARET.     (L.  H.)    Sir  Geoffrey  Pomfret's. 


HEARTSEASE.  53 

ERIC.  (R.  H.)  Ah!  Pomfret!  Then  I  can 
laugh  at  it. 

MARGARET.  (Frightened — going  L.)  I  must 
leave  you. 

ERIC.  (Advancing  c.,  catching  her  hand)  No, 
no,  don't  go.  I  know  what  I  am  saying.  No,  no. 
It  shall  not  break  the  current  of  my  thoughts  again. 
I  was  saying,  was  saying — that — that — (Decisively) 
since  it  was  a  hallucination — your  thought,  your 
fancy,  that  I  loved  any  woman  in  the  world  but  you 
— we  may  again 

MARGARET.  (Beside  ERIC  c.  L.  Staring  at  him) 
It  is  too  late,  I  am  pledged  to  another 

ERIC.     (c.  R.)     To — to  whom? 

MARGARET.  (In  low  tones)  I  am  plighted  to 
Sir  Geoffrey  Pomfret 

ERIC.  (Lets  her  hand  fall)  I  knew  I  hated  him 
— deep,  deep  in  my  heart,  I  hate  him !  I  hate  him — 
hate  him ! 

MARGARET.  (Turning  and  appealing)  But  you 
will  not  hate  me? 

ERIC.  (Clasping  her  in  his  arms)  You  love  me ! 
The  ring  of  despair  in  your  voice  tells  me  that  you 
love  me — (Grasping  her  in  his  arms) 

MARGARET.  (Struggling)  Eric — (Trying  to  re 
lease  herself)  Oh,  this  is  madness. 

ERIC.  Call  it  what  you  will.  It's  a  glimpse  of 
Heaven.  Margaret,  Margaret,  have  pity  on  me. 

MARGARET.  Mr. — Eric!  Eric!  Eric!  Mr. 
Temple.  (Releases  herself  by  a  sudden  effort — 
indignant — drops  a  red  rose  in  the  struggle)  How 
could  you  forget  yourself  ?  (ERIC  extends  his  hands 
to  her.  Falls  on  his  knees.  MARGARET  sadly) 
We  must  never  meet  again,  never,  never,  never. 
(Exit  into  box  2) 

ERIC.  (Stands  petrified.  Kneels  towards  the  box 
and  extends  his  arms  imploringly,  despairingly;  sees 
red  rose,  stoops  slowly,  picks  it  up,  kisses  it,  raises 
it  as  if  in  adoration  of  her  it  typified,  bends  over  it 


54  HEARTSEASE. 

and  kisses  it,  raises  it  and  bends  over  it  kissing  it  for 
the  third  time,  then  the  music  steals  into  his  con 
sciousness  again.  He  listens  intently,  half  fright 
ened,  raises  his  hand  as  if  to  mark  time  to  it — pauses 
and  says  whisperingly)  The  ghosts,  the  ghosts 
are  singing  my  melodies,  my  harmonies  in  my  ears 
again.  (Stares  again) 

(Enter  ALICE  L.  i  E.) 

ALICE.  Eric!  (Takes  ALICE  in  his  arms,  then 
listens  to  music)  Sing  on,  sing  on,  my  songs. 
Listen,  Alice,  my  music,  listen :  mine — mine.  (ALICE 
shakes  her  head)  Not  mine?  Then  I'm  mad. 
Alice,  I'm  going  home.  My  music — haunts  me. 
I'm  tired,  beaten,  I  want  rest.  Come  home.  (Goes 
R.) 

ALICE.    Eric ! 

(Music  swells  louder.} 

ERIC.  (Starts,  almost  shouting)  Alice,  do  you 
hear  that? 

ALICE.    (L.  c.)    Not  so  loud,  dear. 

ERIC,  (c.)  Am  I  going  mad?  (Enter  O'HARA 
L.)  Do  you  hear  ?  Listen,  Alice — Jack ! 

ALICE  and  JACK.    (R.  of  ERIC — JACK  L.)    What? 

ERIC.  Listen!  (Pause — listens  intently)  Note 
for  note — note  for  note — either  that,  or  I  am  a  hope 
less  lunatic.  (Taking  ALICE'S  hand  on  the  one  side 
and  CAPT.  O'HARA'S  on  the  other) 

ALICE.    Yes,  yes. 

ERIC.  Ever  since  I  entered  this  place;  through 
all  my  wild,  whirling,  torturing  talk  with  her,  my 
music — the  music  of  my  lost  work  has  been  ringing 
in  my  ears.  Tell  me,  Alice,  I  know  what  I  am  talk 
ing  about,  don't  I  ? 

ALICE.  Yes,  dear — of  course  you  do.  (Here- 
leases  their  hands)  -  • 


HEARTSEASE.  55 

ERIC.  Then  that — (Meaning  the  music  which  is 
playing)  is  mine. 

CAPT.  O'HARA.    No,  Eric,  that's  Pomf  ret's  opera. 

ERIC.  Pomf  ret!  Again  Pomf  ret!  Listen! 
(Beats  time  for  a  few  bars)  There!  I  anticipated 

CAPT.  O'HARA.    No,  no,  that's  "  Hildebrand." 

ERIC.  (Loudly)  "Hildebrand?"  No,  no!  I 
tell  you  it's  mine.  In  the  face  of  a  thousand  Pom- 
frets,  I'll  swear  it's  mine.  A  mother  knows  her 
child — I  know  the  children  of  my  brain !  It's  not 
"  Hildebrand,"  it's  "  King  Lear !  "  (Enter  POMFRET 
by  R.  staircase,  tripping  and  looking  triumphant,  he 
reaches  stage  at  end  of  ERIC'S  speech,  recognises 
ERIC  and  stops.  ERIC  recognises  POMFRET  and  ad 
vances  on  him.  Picture.  ERIC  L.  c.  points  up-stage 
towards  music  and  both  men  look  at  each  other — 
one  pale  zvith  fright — the  other  trembling  with  rage. 
Pause}  Thief ! 

POMFRET.  How  dare  you?  (Coming  forward  a 
step  or  two) 

ALICE.  Eric!  Eric!  (Calling  to  him — he  puts 
her  away) 

ERIC.  Not  content  with  taking  from  me  the 
woman  I  love,  you  have  stolen  what  would  have 
given  her  to  me.  (Seises  POMFRET  by  the  throat 
and  shakes  him)  Confess — confess!  (Loud  ap 
plause  off-stage.  MARGARET  enters  from  box) 

MARGARET.    Eric !    Eric ! 

ALICE.    (Screams)    Eric ! 

(ERIC  has  struggle  with  POMFRET,  at  length  throw 
ing  him  forcibly  to  the  ground,  then  stands 
above  him  in  a  rage  of  triumphant  passion, 
shouting  incoherently.  His  voice  heard  above 
the  din.) 

ERIC.  Reptile!  Detested  dog!  Treacherous 
hound !  Sneaking  thief ! — Your  life !  iYpur  miser 
able  lif  ej 

CURTAIN. 


56  HEARTSEASE. 


ACT  IV. 

SCENE: — CAPTAIN  O'HARA'S  lodgings — a  room 
comfortably  furnished  and  hung  with  weapons, 
antlers,  etc.,  c.  At  back,  a  wide  door  draped 
with  a  curtain;  R.  a  fireplace — fire  lighted — red 
glow.  Two  branch  candlesticks  on  mantel-piece, 
L.  a  window  in  recess,  window  seat  and  flower 
pots  on  sill — moonlight  streaming  in.  Main 
entrance  at  back  on  L.  of  flat  (corner)  by 
practical  flight  of  three  steps,  with  balustrade 
curving  slightly  to  R.  The  steps  rise  to  a  hall 
which  is  seen  to  run  off  at  back  to  the  L.  A 
candle  lighted  on  table  in  hall,  but  moonlight 
streaming  in  on  it.  Entrance  also  by  small  door 
R.  above  fireplace  from  high  hall  windows. 
Large  high-backed  armchair  near  fire.  R.  c. 
a  table  with  flap  to  let  down.  It  is  laid  with  a 
white  cloth  and  covers  for  two,  wine  glasses, 
etc.  A  three-branch  candlestick  (lighted)  on 
table,  two  chairs  near  it.  Sideboard  R.  of  cur 
tained  door  against  flat.  Iron  knocker  on  hang 
ing  board  off  L.  of  hall;  large  lock  whose  bolt 
can  be  shot  audibly  on  board  below  knocker. 

Music : — "  Heartsease  "  for  curtain. 

DISCOVERED:— QUIGG  arranging  table:  wine 
glasses,  etc. 

QUIGG.  It's  well  I  had  that  pheasant  roasted. 
She's  a  ring-necked  beauty !  (Chime  strikes  eleven 
off-stage  as  in  distance)  Eleven  o'clock!  They'll 
be  here  soon,  now!  Well,  I'm  ready  for  them. 
(Stands  off  surveying  the  table.  Loud  double  knock 
heard  off  L.  u.  E.)  There  they  are !  (Goes  upstairs 
and  off  L.  taking  'candle  from  hall  with  him,  and 
unlocks  door  audibly.  Pause) 


HEARTSEASE.  57 

(Music  of  "Heartsease"  heard  off — very  piano. 
Enter  CAPTAIN  O'HARA,  quickly  and  cheerily. 
He  trips  down  the  steps,  goes  to  c.  and  turns 
towards  steps.) 

CAPT.  O'HARA.  Come,  Eric.  (Going  to  table) 
Supper  is  waiting  for  us.  (Enter  ERIC  from  hall. 
He  is  wrapped  in  his  cloak — sad  and  dejected. 
Comes  down  steps,  throwing  off  cloak.  Enter  QUIGG 
replacing  candle  on  hall  table  and  coming  to  ERIC. 
Aloud)  Take  Mr.  Temple's  cloak  and  hat,  Quigg. 

ERIC.  (To  QUIGG — as  he  takes  cloak  and  hat) 
Leave  them  here,  Quigg.  (Puts  them  on  chair  up- 
stage.  Going  to  CAPTAIN  O'HARA)  No,  Jack,  no. 
I've  no  heart  for  feasting.  (To  QUIGG)  Bring  my 
portmanteau ;  you  have  only  to  close  it. 

QUIGG.  (A  little  in  wonder)  Very  good,  sir. 
(Exits  R.  u.  E.) 

CAPT.  O'HARA.  What  d'ye  want  with  the 
portmanteau  ?  Are  you  going  to  sit  on  it  end  up,  at 
supper — as  we  used  to  in  the  fighting  days  at 
Tanjore? 

ERIC.  No,  Jack.  I  have  had  my  fight — I  have 
lost.  It  is  hopeless — I  should  be  gone.  Jack,  I  am 
going  away. 

CAPT.  O'HARA.  Ha!  Ha!  Ha!  Eric,  we'll 
talk  about  that  after  supper. 

ERIC.  Jack,  I  can't  eat,  and  I  must  go  now. 
The  beaten  soldier  must  retreat — you  know  that. 
There's  nothing  else  to  do. 

CAPT.  O'HARA.    Nothing  else  to  do? 

ERIC.  I  can't  stay  where  I  have  lost  so  much. 
Why,  then,  split  hairs  on  whether  it  is  to-day  or  to 
morrow  ? 

CAPT.  O'HARA.  (Decisively)  Well,  you're  not 
going  away  now. 

ERIC.     (A  little  nettled)    Jack! 

CAPT.  O'HARA.    (Sharply)    .Well,  you're  not,  by 
my  soul,  you're  not. 
;    ERIC.    (Angrily)    Jack! 


^8  HEARTSEASE. 

CAPT.  O'HARA.  (L.  c.)  Now,  Eric,  the  last  thing 
I  saw  at  Covent  Garden  as  I  buffeted  our  way  to 
the  street  was  a  haughty  baronet  with  his  hands  on 
his  throat  wondering  whether  the  life  was  choked 
out  of  him. 

ERIC.    (R.  c.)    Ah,  I  could  not  control  myself. 

CAPT.  O'HARA.  Well,  it  was  against  the  code 
duello,  but  Eric,  it  was  mighty  well  done. 

ERIC.  (Thinking  of  it  with  aversion)  Ah,  it 
was  unworthy. 

CAPT.  O'HARA.  (Gleefully)  Well,  you  struck 
him,  and  if  Pomfret  would  ever  hold  up  his  head 
again  he  must  challenge  at  once. 

ERIC.    Jack,  I  did  not  think  of  that,  ah,  Jack 

JACK.  I  went  over  it  in  my  mind  all  the  way  here 
and  I  can  see  no  way  out  of  a  challenge  for  Pomfret. 

ERIC.    Good,  Jack,  good! 

CAPT.  O'HARA.  We  may  look  for  it  at  any 
moment 

ERIC.    Splendid,  Jack,  splendid ! 

CAPT.  O'HARA.  I  thought  I'd  only  have  to  men 
tion  it,  so  you  see  you  must  wait  here  to  fight  him. 

ERIC.    Till  doomsday,  if  he'll  fight. 

CAPT.  O'HARA.  (crosses  to  L.)  Well,  mean 
while  we  turn  our  thoughts  to  supper. 

ERIC.  I  felt  my  blood  stir  in  my  veins  again,  yes, 
yes.  Despair  so  numbs  the  soul  that  the  eyes  forget 
to  see,  the  mind  to  reason. 

(A  double  knock  heard  at  door  off  L.  u.  E.) 

CAPT.  O'HARA.  (Off-stage)  Major  Twombly! 
This  way,  Major. 

(Enter  MAJOR  by  the  steps,  severe,  important. 
CAPTAIN  O'HARA  replaces  candle  and  ttips 
down  after  MAJOR.) 

MAJOR.    (L.  c.  bowing  stiffly)    Mr.  Temple. 


HEARTSEASE.  59 

ERIC.     (c.  bowing)    Major  Twombly! 

MAJOR.  (Stands  L.  H.)  I  may  infer,  gentlemen, 
that  this  unseasonable  visit  is  not  unexpected. 

ERIC.    (R.  seated)    You  can  best  explain,  sir. 

MAJOR.  (L.)  I  am  Sir  Geoffrey's  Pomfret's 
friend.  As  the  lamentable  occurrence  is  fresh  in  our 
memories 

ERIC.    Pass  the  preliminaries,  I  pray,  Major. 

MAJOR.  (Half  reclining)  I  have  the  honor  to 
demand  on  my  principal's  behalf  the  satisfaction  due 
a  gentleman,  and  to  demand  it  instantly. 

ERIC.    Yes,  he  shall  have  it. 

MAJOR.  You  will  name  a  friend  with  whom  the 
details  can  be  arranged  ? 

CAPT.  O'HARA.  (c.)  There's  no  necessity  to 
name  him — his  name  is  Jack  O'Hara. 

MAJOR.    As  the  challanged  party 

CAPT.  O'HARA.  We  choose  swords ;  six  in  the 
morning,  in  Hyde  Park,  principals,  seconds ;  and  I'll 
bring  a  surgeon.  (As  he  names  each  condition  he 
turns  to  ERIC,  who  nods  asssent  to  each) 

MAJOR.  (Rising)  Very  good,  Captain.  We 
hoped  for  a  quicker  meeting. 

ERIC.     (Rising)     Stay!     Name  your  conditions. 

CAPT.  O'HARA.  By  my  soul,  no.  We've  settled 
them.  It's  our  right. 

MAJOR.  My  principal  presses  for  an  instant 
meeting. 

ERIC.     (To  JACK)     Why  not? 

CAPT.  O'HARA.  (To  ERIC)  Leave  it  to  me. 
(To  MAJOR)  Under  the  Clonmel  code — the  code 
for  gentlemen  anywhere — we  have  already  conceded 
a  point.  We  have  received  and  honored  a  night 
challenge,  which  is  ordinarily  inadmissible.  (MAJOR 
bozvs  and  goes  toivards  stair.  QUIGG  enters  R.  u.  E. 
with  portmanteau  and  portfolio)  Very  well,  at  six 
o'clock  in  the  morning  at  Hyde  Park. 

QUIGG.    Your  portmanteau,  Mr.  Temple. 
QUIGG) 


60  HEARTSEASE. 

MAJOR.  (Laughs,  returning  L.  c.)  It  appears, 
gentlemen,  I  was  barely  in  time.  I  would  remind 
you,  Captain,  the  night  challenge  is  achnissable 
"  Where  the  party  to  be  challenged  intends  leaving 
the  place  before  morning."  Is  the  point  well  taken  ? 

ERIC.    Sir? 

CAPT.  O'HARA.  (Crosses  to  MAJOR)  Major, 
you're  going  too  far ;  you'll  have  something  to  say 
to  me  about  this. 

ERIC,  (c.)  No,  no,  Jack,  he's  right.  We  cannot 
fight  too  soon.  The  chance  of  finding  Pomfret 
eager  will  not  find  me  unready.  We'll  fight  here, 
now,  in  the  light  or  in  the  dark. 

MAJOR.  (To  CAPTAIN  O'HARA)  Would  you 
permit  a  fight  here? 

CAPT.  O'HARA.  Devil  take  it,  why  not?  You 
make  a  man's  blood  boil,  and  ask  him  if  he's  hot. 
Ay,  here.  I'll  take  care  of  that. 

MAJOR.    Here,  in  an  hour. 

ERIC.    At  twelve  o'clock. 

MAJOR.  At  twelve  o'clock,  gentlemen.  (Goes 
up,  conducted  by  CAPTAIN  O'HARA,  who  bows  him 
out.  Door  shuts) 

ERIC.  (Sits  a  moment  gazing  before  him  as  the 
MAJOR  goes  out,  then  suddenly  springs  to  his  feet) 
An  hour !  Now  I  have  new  life,  new  passions,  some 
thing  to  live  *  n  hour  for.  Pom  fret's  sword  may  add 
my  life  to  what  he  has  taken,  but  he  shall  not  take 
it  easily.  (CAPTAIN  O'HARA  comes  sympathetically 
to  ERIC)  Not  as  he  stole  my  work.  Not  as  he  stole 
my  love. 

(Enter  QUIGG  R.) 

CAPT.  O'HARA.  (Putting  ERIC  in  seat  at  table, 
facing  audience)  And  now  for  a  bit  of  this 
pheasant — (Going  to  R.  side  of  table  and  carving) 
and  a  glass  of  good  Burgundy  alongside  of  it. 
(Passing  plate.  To  QUIGG)  And  now  your  lord 
ship  can  leave  us.  (Sitting  L.  of  table) 


HEARTSEASE.  6it 

(Exit  QUIGG  R.  u.  E.) 

ERIC.  (Raising  glass)  Jack!  (Drinks)  Ah, 
that's  the  real  fluid  of  life  itself. 

CAPT.  O'HARA.  Ah,  Eric,  you  need  that.  (Eat 
ing)  Oh,  her  ladyship's  tender.  (£RIC  looks  up) 
I  shot  her  myself  in  Lord  Oxford's  preserves. 
(ERIC  laughs,  clinks  glass  with  JACK  and  empties 
it;  refills)  It  reminds  me  of  the  days  we  went 
pheasant-shooting  in  Tan j ore. 

ERIC.  (Sits  back  of  table)  Ah!  Glorious  days ! 
(Drinks  and  begins  eating) 

CAPT.  O'HARA.  Why,  when  I  tell  them  over  at 
Lady  O'Hara's  how  you  brought  that  bird  down, 
Alice  laughs  till 

(ERIC  drops  fork  and  knife.) 

ERIC.    (  With  sudden  gravity  of  manner)    Alice  ? 

CAPT.  O'HARA.  Never  fear  for  Alice,  Eric ;  hus 
band  or  brother,  she'll  have  someone  to  look  after 
her. 

ERIC.    Jack — (Drinks) 

CAPT.  O'HARA.    Eric,  I've  got  a  secret  to  tell  you. 

ERIC.    Yes? 

CAPT.  O'HARA.  I've  been  wanting  to  tell  you  this 
long  time. 

ERIC.    What  is  it,  Jack  ?    (Reaching  for  decanter) 

CAPT.  O'HARA.    I'm  determined  at  last  to  tell  it. 

ERIC.  (Pouring  wine)  Well,  out  with  it,  Jack. 
(Holds  up  glass) 

CAPT.  O'HARA.  (Hesitating)  Well,  you  know — 
(With  sudden  desperation)  I  love  your  sister. 

ERIC.    (Drinking)    Yes,  Jack.    Go  on. 

CAPT.  O'HARA.    I  love  your  sister. 

ERIC.    But  your  secret? 

CAPT.  O'HARA.    Why,  that's  it,  I  love  your  sister. 

ERIC.    Why,  that's  no  secret. 

CAPT.  O'HARA.    kYou  know  it? 


[62  HEARTSEASE. 

ERIC.  (Reaching  his  hand)  Everybody  knows  it. 
Jack !  God  bless  you !  God  bless  you  both.  We'll 
drink  to  her  health. 

CAPT.  O'HARA.  With  all  my  heart,  but  steady, 
Eric.  Eating  is  better  for  you  than  drinking  now. 
(ERIC  eats)  Why,  I  was  afraid  to  tell  Alice  you 
were  coming  to  the  opera  to-night,  and  if  it  wasn't 
for  Miss  Neville  who,  barring  your  sister,  is  the 
most  charming  girl  I  ever  saw — (ERIC  drops  knife 
and  fork)  A  little  too  old,  perhaps.  (Business) 
I  mean  the  bird. 

ERIC.     (Dreamily)     Oh! 

CAPT.  O'HARA.    Why  did  you  stop  eating? 

ERIC.    Eh !    Oh !    I  stopped  to  drink.     (Drinks) 

CAPT.  O'HARA.  Then  we'll  drink  her  health,  too. 
Miss  Neville.  (Raising  glass.  Rising) 

ERIC.     (Rising)     God  bless  her! 

CAPT.  O'HARA.  (Starts— looks  at  ERIC)  Why, 
Eric,  you  said  that  as  if  you  loved  her. 

ERIC.    With  all  my  soul. 

(CAPTAIN  O'HARA  and  ERIC  touch  glasses  silently , 
drink ,  and  sit  quietly.) 

CAPT.  O'HARA.  I  see,  it  was  not  the  loss  of  your 
opera  that  broke  your  heart. 

ERIC.  (Slightly  inebriated)  Jack,  there  are 
steps  and  grades  in  loss  on  loss,  before  heart-break 
comes.  (Looks  towards  candlestick  and  draws  it 
towards  him,  looking  at  it)  Jack,  when  my  father 
died  the  golden  sands  ran  out  of  life's  hour  glass 
for  me.  Fortune  went.  (Extinguishes  a  candle) 
But  the  star  of  music,  mystic,  luminous,  fascinating, 
rose  and  drew  me  after  it — as  the  star  drew  the 
shepherds'  Kings.  Jack,  then  music  died  away. 
(Puts  out  the  second  candle)  Still  one  light  burned 
—the  lamp  of  love.  It  shone  out  clear  and  mellow, 
and  still  I  lived,  Jack,  still  I  lived;  but,  oh,  Jack, 
since  that  pure  flame  is  quenched  and  dead,  and 


HEARTSEASE.  63 

shines  for  me  no  more,  it  is  utter  darkness — as  it  is 
here  now.  (Extinguishes  third  candle.  Pause) 

CAPT.  O'HARA.  Bedad,  you've  made  it  dark  for 
both  of  us. 

ERIC.  (Grasping  decanter)  Yes,  black  and 
blank,  but — (Pausing)  still  there's  something  to  do. 
(Drinks) 

CAPT.  O'HARA.  Eric,  your  hand  will  never  be 
steady,  and  it  has  need  to  be. 

ERIC.  (Rising)  Why,  I  haven't  a  nerve.  I  feel 
like  a  man  freezing  to  death.  (Goes  to  mantel 
piece  at  R.  H.)  A  man  should  be  warm  till  he  dies. 
I'll  drink  your  health,  Jack ;  I  feel  as  if  I  could  sleep. 

CAPT.  O'HARA.  Faith,  that's  an  idea,  somebody 
says  that  sleep  knits  up  the  ravelled  socks  of  care. 

(ERIC  sits  in   large   armchair   near  fire,   back   to 
audience. ) 

ERIC.  (CAPTAIN  O'HARA  brings  cloak  and  puts 
it  about  ERIC)  Is  this  rest  at  last?  Bless  you, 
Jack,  bless  you!  (Falls  asleep) 

CAPT.  O'HARA.  Poor  fellow !  A  little  sleep  will 
do  him  good.  Half  an  hour  yet.  (Going  to  R.  u.  E. 
calling  off  in  low  tone)  Quigg!  Quigg!  (Enter 
QUIGG)  Clear  away,  Quigg.  (Knock  at  outer  door 
L.  H.  QUIGG  moves  table  to  back  as  told)  I'll 
go  myself.  It  can't  be  they  already.  (Exits  L.  3  E. 
Pause.  Door  closes.  Voice  of  PADBURY,  off-stage) 

PADBURY.     Captain !    Captain ! 

CAPT.  O'HARA.    Whist! 

(Enter  PADBURY,  followed  by  CAPTAIN  O'HARA 
L.  3  E.) 

PADBURY.     (L.  c.)    Where's  Mr.  Temple? 
CAPT.  O'HARA.     (c.)     He's  asleep;  you'll  wake 
him — there  he  is. 

PADBURY.    (Crossing  to  R.  c.    Looking  at  ERIC), 


64  HEARTSEASE. 

Don't  he  look  pale  ?  Poor  chap,  he  looks  as  if  he  had 
his  share  of  trouble. 

CAPT.  O'HARA.  Trouble,  is  it  ?  Enough  to  make 
him  what  he  was  to-night,  a  madman. 

PADBURY.     What  for? 

CAPT.  O'HARA.  For  accusing  Sir  Geoffrey  Pom- 
fret  of  having  stolen  "  Hildebrand  "  from  him. 

PADBURY.    Did  he  do  that? 

CAPT.  O'HARA.    Yes. 

PADBURY.  Then  I  can  prove  he  wasn't  mad,  and 
that  is  why  I  came  to  you  to  go  with  me  to  Burton 
House,  and  Lord  Neville  would  listen  to  the  facts 
from  you. 

CAPT.  O'HARA.    Go  on  man.  what  is  it? 

PADBURY.  You  know  Sir  Geoffrey's  friend  the 
Major  ?  He  was  in  his  cups  to-night,  and  had  some 
words  with  Pomfret.  In  his  drunken  indignation 
he  confessed  to  me  he  had  assisted  Sir  Geoffrey  to 
steal  Mr.  Temple's  opera.  It  was  given  to  the 
chairman  who  was  called  to  Lady  Neville's,  directed 
to  the  White  Horse  cellar  to  be  called  for,  and  the 
Major  called. 

CAPT.  O'HARA.    Oh,  by  the  powers! 

PADBURY.  Shortly  after  hearing  this.  I  had  rea 
son  to  leave  the  opera  house  and  I  found  the  very 
chairman  that  took  the  package;  he  is  waiting  for 
me  outside. 

CAPT.  O'HARA.  I'll  wake  Eric  and  tell  him !  No, 
I'll  let  him  sleep,  poor  fellow. 

PADBURY.  (Louder)  Lord  Neville  ought  to 
know  it.  I'd  tell  him  myself  if  I  didn't  think  he'd 
kick  me  for  talking  to  him.  Oh,  I've  had  enough 
of  nobs.  (Crosses  to  CAPTAIN  O'HARA,  going  to 
door,  L.  u.  E.) 

CAPT.  O'HARA.  Sh !  You'll— you'll  waken  him. 
(PADBURY  goes  up  steps.  L.  c.)  Now  you  can  go  to 
bed,  cjuigg.  You're  not  wanted  to-night,  no  matter 
what  you  hear,  understand? 

QUIGG,    (R.  c.,  at  sideboard)    Yes,  sir. 


HEARTSEASE.  65 

CAPT.  O'HARA.     Good-night. 

QUIGG.    Good -night,  Captain.     (Exits  R.  3  E.) 

CAPT.  O'HARA.  (Aside)  I  can  be  back  before 
they  come.  \Yho'll  let  me  in?  I'll  leave  the  door 
ajar.  (Takes  hat  and  goes  L.  up  steps)  Padbury, 
if  you're  an  old  grocer,  you've  a  good  heart. 

PADBURY.    I  always  said  so,  Captain. 

(CAPTAIN  O'HARA  stops  his  mouth.) 

CAPT.  O'HARA.    Whisht,  and  come  on ! 
PADBURY.     I'm   a   comin* — I've   a   good  heart. 
(R.    Exits  L.  u.  E.  following  CAPTAIN  O'HARA) 

(Long  pause:  thirty  seconds.  Heartease  flayed  on 
cello,  off — a  light  tap  heard  as  on  wainscot 
outside,  and  after  an  instant  it  is  repeated. 
MARGARET  appears  in  hall,  comes  cautiously 
forward  and  down  one  step,  looking  around') 

MARGARET.  (Low  tone)  Captain  O'Hara! 
(Descends  another  step)  Mr.  Temple! — Mr. 
Temple!  (Reaches  floor)  Am  I  too  late?  I  heard 
— I  know  Geoffrey  will  force  him  to  fight,  I  cannot 
bear  it.  (Crosses  R.  up-stage)  Mr.  Temple.  Mr. 
Temple!  (Sees  ERIC  asleep)  Ah,  safe! — asleep! 
(Approaching  ERIC  and  three-quarters  facing 
audience.  Kneels  R.  c.  near  chair)  My  love!  My 
love !  You  cannot  hear  me,  but  I  have  come,  dear, 
to  lift  the  shadow  from  your  soul.  You  told  me 
of  your  love  for  me  through  shame  and  suffering. 
They  said  you  were  mad,  but  when  your  song,  my 
song,  "  Heartease,"  came  to  my  ears  in  the  opera 
to-night,  I  knew  then  you  had  but  reclaimed  your 
own — and  here  upon  my  knees  I  ask  you  to  forgive 
me,  to  forgive  me ! 

(ERIC'S  hand  moves.  He  is  seen  to  turn  his  head 
slowly  towards  MARGARET  and  to  lean  towards 


66  HEARTSEASE. 

her  as  if  she  were  a  vision.  She  extends  her 
hands  towards  him.  He  leans  forward,  touches 
her,  starts  back,  rises.) 

MARGARET.     Mr.  Temple! 

ERIC.    In  Heaven's  name,  what  brings  you  here? 

MARGARET.  Justice!  I  am  here  to  right  the 
wrong  I  helped  to  fasten  on  your  life. 

ERIC.  No,  no,  think  of  the  awful  risk — alone, 
here  in  the  rooms  at  midnight.  You  must  not  stay. 
Rather  a  thousand  wrongs  than  you  should  tarnish 
your  fair  name. 

MARGARET.  I  know  Sir  Geoffrey  Pomfret  to  be 
a  thief.  I  know  that  he  will  challenge  you.  I  know 
that  it  is  planned  to  murder  you.  Eric,  I  know  you 
spoke  the  truth. 

ERIC.  You  believe  in  me?  Thank  God  for  that. 
With  your  faith,  I  am  murder-proof. 

MARGARET.    You  must  not  meet  him. 

ERIC.    Must  not  meet  him? 

MARGARET.  You  must  not.  Promise  me  you  will 
avoid  this  meeting. 

ERIC.  No,  no.  He  stole  my  work;  he  shall  not 
rob  me  of  my  honor. 

MARGARET.  Wait  until  you  have  regained  the 
first.  Do  you  not  see  he  will  force  this  meeting  to 
prevent  your  doing  so  ? 

ERIC.  Why  should  I  fear  to  meet  him?  I  have 
lost  more  than  life  itself — and  life  is  worthless  to 
me  now. 

MARGARET.  Think  of  my  life — my  life  that  is 
bound  up  with  yours.  Ah,  Eric,  Eric,  I  love  you  so. 

ERIC.  Margaret — bless  you  for  those  words,  and 
if  I  HVe 

MARGARET.    You  must,  you  shall. 
ERIC.     Ah,  dearest,  go.     Go,  I  entreat  you.     If 
they  should  return  and  find  you  here — ? 

MARGARET.      (Passionately)     Ah,   then   he   has 


HEARTSEASE.  67 

challenged  already.  I  will  not  go  until  you  promise 
not  to  fight  Sir  Geoffrey. 

ERIC.    I  cannot! 

MARGARET.    Eric,  Eric,  your  life  is  mine. 

ERIC.  Yes,  but  honor  is  above  our  lives,  and  I 
must  think  of  yours.  Go !  Go ! 

MARGARET.  Not  till  you  swear  that  you  will  not 
fight  Sir  Geoffrey ! 

ERIC.  I  cannot  swear.  Hush !  They  are  coming. 
Sir  Geoffrey  and  Captain  O'Hara.  Who  let  you  in  ? 

MARGARET.    I  found  the  door  ajar. 

ERIC.  Then  we  must  not  be  surprised.  (Looks 
about)  Margaret,  in  behind  the  curtains.  (Goes 
to  curtains)  In  this  room !  For  pity  sake's,  quick ! 

MARGARET.    No ! 

ERIC.  Think,  if  they  find  you  here !  If  you  stay, 
your  name  is  blasted,  your  honor  gone. 

MARGARET.    Then  it  is  my  honor  against  yours. 

ERIC.    Your  honor  or  mine? 

MARGARET.  Yes:  your  honor  or  mine.  (Knock 
ing  heard  again,  and  voices) 

ERIC.  Ah,  no,  not  that.  Do  not  put  me  to  that 
cruel  test.  You  will  let  me  keep  all  I  have  left,  my 
honor  ?  Go !  Go ! 

MARGARET.  No!  Not  until  you  swear  you  will 
not  fight  Sir  Geoffrey ! 

ERIC.     You  will  not? 

MARGARET.  No !  Eric — (Stands  silent  in  horror) 
Let  my  honor  go!  (MARGARET  gives  a  swift  look 
towards  entrance  L.  then  goes  behind  the  curtains  c. 
at  back.  CAPTAIN  O'HARA'S  voice  heard  off) 

CAPT.  O'HARA.  (As  he  raises  his  foot)  Eric! 
Eric!  (ERIC  takes  candlestick  from  mantel-piece, 
wipes  perspiration  from  his  forehead  and  goes  up 
L.  and  off  like  a  man  dazed  and  crushed;  lock  shoots 
back.  Bustling  entrance  of  CAPTAIN  O'HARA. 
Goes  R.  Enter  MAJOR  followed  by  POMFRET 
wrapped  in  cloak.  MAJOR  comes  L.  c.  POMFRET  goes 
dozvn  L.  MAJOR  carries  swords.  Enter  ERIC,  who 
stands  c.)  Now  then,  to  business. 


68  HEARTSEASE. 

ERIC.      Gentlemen!      There    will    be    no    fight. 
(CAPTAIN  O'HARA  starts,  thunderstruck.) 

POM  FRET.    Coward,  as  well  as  liar! 

MAJOR.  (Intervening)  Leave  the  word  to  me, 
Sir  Geoffrey.  We  will  accept  no  apology. 

CAPT.  O'HARA.  'S  blood,  Eric,  we  can't  stand 
that!  (ERIC  stands  helpless — hanging  his  head) 
Eric !  You  heard  them ! 

ERIC.   I  cannot  fight  them! 

POM  FRET.     Fight,  damn  you,  you  cannot  crawl! 

CAPT.  O'HARA.  Insults  to  my  friend,  while  the 
affair  is  in  my  hands,  are  insults  to  me 

ERIC.     (Stopping  him)     No,  Jack,  no. 

POMFRET.  (Goes  to  ERIC  c.)  Has  the  coward 
no  more  to  say?  Has  the  liar  lost  his  breath?  If 
you  will  not  fight,  speak.  (ERIC  bows  his  head 
and  clenches  his  hands)  If  you  will  not  speak, 
kneel!  (ERIC  turns  a  face  of  misery  to  POMFRET) 
Insulting  dog !  Crawling  hound !  Cur !  You  dared 
accuse — you  dared  to  strike!  Well,  then  a  blow. 
(Striking  ERIC  in  the  face  with  glove)  There! 
(Strikes  again)  There! 

(Enter  MARGARET  through  curtains  with  a  wild  cry.) 

MARGARET.     Coward!    Eric,  kill  that  man! 
ERIC.    Ah! 

(  POM  FRET  throws  off  cloak  L.  ERIC  draws  sword 
from  MAJOR,  who  holds  them  c.  POMFRET  at 
sound  of  MARGARET'S  voice  has  backed  away  L. 
POMFRET  draws  sword.  They  rush  together 
and  fight  furiously — ERIC  disarms  POMFRET. 
PADBURY'S  voice  heard  off  L.  u.  E.  just  as  fight 
culminates.  Enter  LORD  NEVILLE  wearing 
cloak.  He  stands  an  instant  at  the  head  of 
steps.) 


HEARTSEASE.  69 

LORD  NEVILLE.  Stop !  This  fight  goes  no  further, 
gentlemen!  (LORD  NEVILLE  descends  and  goes  c.) 

(ALICE  runs  to  ERIC  L.) 

ALICE.     Eric!     Mr.  Padbury  brought  me  here! 

POMFRET.  In  good  time,  my  lord,  to  take  home 
your  daughter,  whom  I  found  in  this  man's  rooms 
at  midnight. 

LORD  NEVILLE,  (c.)  Silence,  sir!  You  are 
speaking  of  my  daughter.  Mr.  Temple,  what  of  this 
charge  you  made  to-night  ? 

ERIC.  My  lord,  it  was  was  not  "  Hilebrand  "  you 
heard  to-night,  but  my  stolen  opera  "  King  Lear." 

LORD  NEVILLE.  I  know  it,  sir.  (To  POMFRET) 
Your  confederate  confessed  in  his  cups  to-night: 
the  messenger  who  innocently  aided  the  thief  has 
been  found.  The  proof  is  complete. 

PADBURY  Yes,  Eric.  I  told  his  lordship  all  about 
it.  (MAJOR  is  sneaking  to  door)  Ah,  Major,  don't 
be  in  a  hurry. 

MAJOR.  Excuse  me.  I've  got  an  important  en 
gagement  in  Lambeth.  (Exiis  L.  u.  E.) 

POMFRET.  (Crosses  R.)  All  this  sounds  most 
ingenious,  but  you  have  not  a  particle  of  proof.  No 
one  can  dispute  my  authorship  of  "  Hildebrand." 

MARGARET.    (  Comes  down  L.  of  c. )    Yes :  I  can ! 

POMFRET.  What,  you,  Miss  Neville?  Do  you 
dispute  it  to? 

MARGARET.  Yes!  Mr.  Temple's  song  of 
"  Heartsease  "  is  in  the  final  act  of  "  Hildebrand." 
I  heard  it.  I  knew  it  to-night. 

POMFRET.    A  mere  coincidence. 

MARGARET.  Too  exact  for  that:  it  was  note  for 
note. 

ERIC.  Yes,  Alice  it  was  there,  the  same  melody, 
the  same  harmony.  You  see,  my  lord,  I  stole  my 
best  to  give  to  her. 

LORD  NEVILLE.    Mr.  Temple,  I  thank  you,  but  if 


70  HEARTSEASE. 

you  have  been  wronged,  as  I  most  firmly  believe, 
neither  my  name,  Lady  Neville's,  nor  yours,  Sir 
Geoffrey,  shall  be  spared  in  the  investigation. 

POM  FRET.    Your  lordship  seems  to  threaten. 

LORD  NEVILLE.  Sir  Geoffrey,  it  is  you  who  seem 
to  fear,  but  where  I  have  done  wrong,  there  will  I 
set  right. 

POMFRET.  (Winces,  but  assumes  bold  front)  It 
is  positive  charity  to  assume  that  his  lordship  is  in 
his  dotage. 

LORD  NEVILLE.  (Going  up)  Go  to  the  devil! 
( POMFRET  goes  up.  PADBURY  hands  him  in  succes 
sion,  his  cloak,  sword,  hat  and  gloves,  each  with  a 
bow)  Your  cloak,  your  sword,  your  gloves,  and 
your  hat.  Don't  hurry. 

POMFRET.  (On  steps)  I  always  told  your  lord 
ship  that  you  would  have  all  Cheapside  in  the 
family.  (Exits,  followed  by  PADBURY  L.  u.  E.) 

LORD  NEVILLE.  Mr.  Temple,  how  can  I  ever  re 
pair  the  wrong  I  have  done  you? 

ERIC.  My  lord,  the  one  inspiration  in  my  work, 
the  reward,  the  light,  toward  which  I  battled  through 
the  darkness — was  love.  When  that  is  won,  all  else 
were  well  lost. 

LORD  NEVILLE.    And  Margaret? 

MARGARET.    You  know  I  love  him,  father. 

LORD  NEVILLE.  (To  ERIC)  Take  her,  sir.  It  was 
he  wTio  discovered  you,  after  all. 

(Music  of  "Heartsease"  heard  off-stage.) 

ERIC.  Real,  breathing,  loving.  It  is  no  dream. 
God  does  not  give  us  more  than  we  can  bear. 

MARGARET.    For  us,  love  always,  love  unalterable. 

ERIC.  Yes,  and  the  "  Heartsease "  that  comes 
with  love. 

CURTAIN. 


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